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TRANSCRIPT
Copyright © 2012 BriTon Leap, Inc.
All Trademarks are the property of their respective owners.
EMBROIDERYWORKS
USER GUIDE FOR
MACINTOSH
TABLE OF CONTENTS
Welcome ................................................................................................................................................................................. 1
Everyday Features ....................................................................................................................................................... 1
Advanced Components (additional features) ................................................................................................... 2
More About the Fonts ................................................................................................................................................. 2
Installation ............................................................................................................................................................................. 4
Overview ................................................................................................................................................................................ 7
The EW Library Window .......................................................................................................................................... 8
The Stitch Files Window............................................................................................................................................ 9
Design Pages .................................................................................................................................................................. 9
Designs ........................................................................................................................................................................... 10
Objects ............................................................................................................................................................................ 10
Managing Views .......................................................................................................................................................... 10
Files ................................................................................................................................................................................. 11
Saving ............................................................................................................................................................................. 11
Open vs. Merge ............................................................................................................................................................ 11
The Main View .................................................................................................................................................................... 12
Zooming ......................................................................................................................................................................... 12
Magnify .......................................................................................................................................................................... 13
Measure Size and Counts (Stitches and Colors) ............................................................................................. 13
Viewing in 3D .............................................................................................................................................................. 14
Background and Grid ................................................................................................................................................ 14
Hoops .............................................................................................................................................................................. 15
Display Calibration .................................................................................................................................................... 16
The Mouse Wheel....................................................................................................................................................... 18
Ghost Mode ................................................................................................................................................................... 18
Panning and Scrolling............................................................................................................................................... 19
Selection ........................................................................................................................................................................ 19
Status Bar ...................................................................................................................................................................... 20
Navigation ............................................................................................................................................................................ 20
Objects View ........................................................................................................................................................................ 22
Selecting......................................................................................................................................................................... 22
Locking ........................................................................................................................................................................... 23
Sequencing.................................................................................................................................................................... 23
The Property Sheet ........................................................................................................................................................... 24
Color ....................................................................................................................................................................................... 24
Thread Brand and Color .......................................................................................................................................... 25
Coloring Letters .......................................................................................................................................................... 28
Color Sorting ................................................................................................................................................................ 29
Deleting Stitches by Deleting a Color ................................................................................................................. 30
Applique................................................................................................................................................................................ 30
Material .......................................................................................................................................................................... 31
Position .......................................................................................................................................................................... 31
Important Notes: ........................................................................................................................................................ 33
Preferences ................................................................................................................................................................... 33
The Thread Editor ..................................................................................................................................................... 33
EmbroideryWorks
Transform Controls .......................................................................................................................................................... 36
Mirror and Rotate ...................................................................................................................................................... 37
Centering In the Hoop .............................................................................................................................................. 37
Fit to Hoop .................................................................................................................................................................... 37
Remove Hidden Stitches ......................................................................................................................................... 37
Size and Move .............................................................................................................................................................. 37
Align and Distribute .................................................................................................................................................. 38
Mirror x 4 ...................................................................................................................................................................... 39
Scatter............................................................................................................................................................................. 40
Instant Repeat (Advanced) .................................................................................................................................... 40
Precise Position (Advanced).................................................................................................................................. 41
Carousel (Advanced) ................................................................................................................................................ 43
Stitch Files ............................................................................................................................................................................ 45
The Sweep ..................................................................................................................................................................... 46
Stitch Properties ......................................................................................................................................................... 46
Stitch Properties (Advanced) ................................................................................................................................ 47
Project Advisor................................................................................................................................................................... 48
StitchPerfect (Advanced) ........................................................................................................................................ 49
Other Utilities ..................................................................................................................................................................... 50
Add Knockdown Stitching Utility......................................................................................................................... 50
Save Image .................................................................................................................................................................... 50
Other Preferences ............................................................................................................................................................. 51
Sizing of Design Files (Advanced) ....................................................................................................................... 51
Embroidery Hoops .................................................................................................................................................... 51
File Conversion ........................................................................................................................................................... 53
Preferred Stitch Format........................................................................................................................................... 54
Removing Overlaps Preference ............................................................................................................................ 55
Auto Recover ............................................................................................................................................................... 55
Checking For Updates .............................................................................................................................................. 55
Lettering ............................................................................................................................................................................... 56
Monograms vs. Letters ............................................................................................................................................. 56
Selecting Letter Type ................................................................................................................................................ 57
Customize the Design ............................................................................................................................................... 58
Monogram Font and Quick Style .......................................................................................................................... 59
Font Selection .............................................................................................................................................................. 60
Slant and Space ........................................................................................................................................................... 60
Enveloping .................................................................................................................................................................... 60
Changing the Color of one Letter ......................................................................................................................... 61
Monogram Sewing Order ........................................................................................................................................ 61
Stitch Properties ......................................................................................................................................................... 61
Importing Fonts (Advanced) ........................................................................................................................................ 63
Mapping Letters.......................................................................................................................................................... 64
Adjusting Baseline ..................................................................................................................................................... 65
Spacing ........................................................................................................................................................................... 65
Editing Fonts Already Imported........................................................................................................................... 65
Using Imported Fonts ............................................................................................................................................... 65
Deleting A Font ........................................................................................................................................................... 66
Using Imported Fonts ............................................................................................................................................... 66
Monogram Placement ..................................................................................................................................................... 67
Towels ............................................................................................................................................................................ 67
Bedding .......................................................................................................................................................................... 67
Garments ....................................................................................................................................................................... 68
The EW Library .................................................................................................................................................................. 69
The AccuQuilt Libraries .................................................................................................................................................. 70
Applique Properties Tab ......................................................................................................................................... 71
Multi-Position Hooping................................................................................................................................................... 72
Sewing ............................................................................................................................................................................ 73
Editing the Hoops (Advanced) .............................................................................................................................. 73
Multiple Hooping........................................................................................................................................................ 75
Split Into Hoop (Advanced) ................................................................................................................................... 76
Output Files .................................................................................................................................................................. 77
Region Naming:........................................................................................................................................................... 78
Getting Results ............................................................................................................................................................ 78
Stitch Editing (Advanced) .............................................................................................................................................. 79
Selecting Stitches ....................................................................................................................................................... 79
Splitting a design ........................................................................................................................................................ 80
Insert Stitches .............................................................................................................................................................. 80
Converting Stitches ................................................................................................................................................... 81
Adding compensation............................................................................................................................................... 81
Keyboard Shortcuts................................................................................................................................................... 81
Stitch Simulator ................................................................................................................................................................. 82
The Density Map ................................................................................................................................................................ 83
Basting functions ............................................................................................................................................................... 84
Printing ................................................................................................................................................................................. 85
Help ........................................................................................................................................................................................ 86
Welcome
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WELCOME
Hello and welcome to EmbroideryWorks! Thanks for reading this User Guide! Since you’re here, let us tell you some things about this exciting program because EmbroideryWorks represents a giant step for-ward in machine embroidery. For starters, it is a small, yet feature packed program that is an easy to in-stall native Macintosh version (Mac OS X 10.5.8 and greater). It requires no hardware dongle and can be installed on multiple systems requiring only your personal serial number to be typed in for the program to run. Once you enter a serial number, you can register the program, which provides several benefits. One of those benefits is that if you should ever lose your serial number, we can recover it for you.
This manual covers the features in the program versions Everyday and Advanced. The idea behind Everyday is to include the features, which are essential for every embroiderer, yet not to overwhelm the user with unnecessary extras. It is designed to be simple and easy, yet powerful enough to accommodate the person who wants to do more than simply using existing designs.
The program version Advanced adds some very useful tools and settings, which make life easier for a user who has some experience with embroidery. If you’re new to embroidery and have purchased Ad-vanced, please don’t worry; these features will not get in your way. They are easy and fun! And once ma s-
tered, will provide valuable assistance with your embroidery projects.
Everyday Features
• 12 Fonts for multi-line text, monogramming and circle text.
• Sample designs, which are scalable and recalculate their stitches as you interactively transform them.
• Unlimited lines of letters or monograms and embroidery designs can be combined.
• The Project Advisor, which helps you with stabilizer, needle and other advice for your project.
• The Sweep Tool, which reduces stitch count, time and puckering.
• You can mix and match fonts and sizes.
• Merge existing embroidery files into your design.
• Our patented Density Map to evaluate designs without needing to sew them.
• If you overlap designs, Everyday will remove the overlapped stitches so the design will sew per-fectly.
• Browse and Merge designs in folders and from inside .ZIP files.
• Resize existing embroidery files with stitch recalculation. You can resize embroidery within Every-day up to 250% and down to 50%.
• Adjust density of designs, including separate adjustments for Satin and Fills, per color.
• Automatically split designs into our pre-defined Multi-Position Hoops.
• Colorize any embroidery design. You can change the colors one at a time, or convert the entire de-sign or any selected part of it to your preferred thread brand with just a few mouse clicks.
• Simulate the sewing of any design. The simulator can play in 3D, play forward and backward, and has variable speed. The simulator also has a slider so that you can manually scroll forward and backward through the design to any point without waiting. You can even insert a color stop in the sewing process.
• Convert any design from one format to any of the supported types, which include:
• Read: ART, CND, CSD, DST, DSZ, EMD, EXP, EXP+, GNC, HUS, JAN, JEF, JEF+, PCM, PCS, PEC, PES, PHC, SEW, SHV, TAP, VIP, VP3, XXX, EMB.
• Write: CSD, DST, DSZ, EXP, EXP+, HUS, JEF, PCS, PES (v1-9), PCM, SEW, SHV, TAP, VIP, VP3, XXX.
• Designer 1 Disk utility for floppy and USB machines.
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• Create a working file (.BE extension) to save your design as an editable and merge-able file. Your working file is saved for you automatically when you save a stitch file so you don’t have to ‘Save’ twice every time you make some changes—once for the stitch file and once for the working file.
• Real Scale zooming allows you to view your designs on screen at the actual size that they will stitch out.
• Navigation Window that provides instant control over the zoom and scroll in the program’s view.
• Sewing Order control allows you to re-sequence the designs to sew in the order you want them to sew.
• Color Sorting control to intelligently reduce the number of extra color changes.
• Adjustable Mouse Wheel attribute for Zoom or Scroll.
• Simple centering in the hoop plus advanced alignment.
• Thread Palette creation and thread inventory system.
• Basting designs.
• Create Applique cut files for most cutters.
• Display and print cropped photo as applique – eliminate cutting in the hoop!
• Add knockdown stitching for sewing on towels
• Automatically check for updates.
Advanced Components (additional features)
• 32 additional fonts for multi-line text, monogramming and circle text.
• Import Fonts, a great feature to work with alphabet design packs. The alphabet design packs are easily mapped into the font list, turning the letters into a keyboard font.
• Stitch Editing, including Split, Insert and Delete, Pull compensate and adjust stitch.
• Custom Multi-Position Hoops.
• Advanced stitch adjustments.
• Extra Library design sets for Appliqué and more. These can be used with your existing designs.
• Our StitchPerfect system, which adjusts the design to better sew on your project.
• Precision tools for design placement.
• Repeat designs for tiling.
• Full-featured Thread Chart creation, including metallic and variegated color creation.
• Baste design and hoop.
More About the Fonts
These fonts give you enormous control over them. The specifics vary depending on which lettering style you’re using, but in general, you can adjust the font, color, size, aspect, center, rotation, mirroring, slant, kerning, layout, stagger, sequence, envelope shape, stitching properties including density, underlay, underlay density and compensation (which can be used to increase boldness) for the design as a whole. And you can adjust the color, size, position, rotation, kerning, aspect and mirroring down to the individu-al letter. You can adjust the letter sequence for Monograms so that letters may overlap exactly how you want them. And if you do overlap your letters within a Monogram, the hidden stitches are automatically removed for you so that the design sews out nice and flat. For fast and easy Monogram setup, you have 14 Quick Styles to layout your design, including Vertical, Square, Oval and Diamond.
When sizing letters, your letters automatically switch to a fill-like satin stitch. This looks like a fill, but unlike a fill, the stitches maintain the beauty of the curved satin column. Another benefit of this is that fonts can be made far larger than ordinary embroidery fonts - some as tall as 8”.
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To make the fonts even more versatile in size, automatic adjustments are made for you to help the let-ters sew smaller than they would in other programs. For instance, when you make the letters smaller, narrow satin stitching is automatically adjusted to keep long-enough stitches to actually sew. And alt-hough some small designs look good on screen, they won’t embroider well. The fonts in the program pro-tect your stitching automatically.
Multi-Line text offers line spacing, and in Circle Text, you can keep on typing, right into a spiral! And EmbroideryWorks can further be extended by adding font and design packs, including those for
MonogramWorks, now available from your dealer or online at www.designersgallerysoftware.com. Welcome to EmbroideryWorks, and let the fun begin!
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INSTALLATION
Installation of EmbroideryWorks is easy. First insert the disc or download the installer. Double-click the installer icon, which looks like:
This will start the installation. On Macintosh it looks like this:
Click ‘Continue,’ then accept the license agreement by clicking the ‘Agree’ button, then click ‘Con-tinue.’
Select where you want to install the program, normally your start-up volume.
Installation
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Enter your password, if required, to start the install process.
EmbroideryWorks is now installed.
You are finished installing. Please have your serial number(s) ready for the first time you
run the program so you can get started right away!
Launch EmbroideryWorks by finding it in your Applications folder and double-clicking it. To keep it in the dock and readily available, after launching, right-click its icon in the dock and choose Keep in Dock from the Options menu:
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You will need to enter your serial number(s). If you have Advanced, you’ll enter two serial numbers (one for Everyday and a second for Advanced). If you are just starting with Everyday and later upgrade to Advanced, you can access this area from the Help menu.
Be sure to complete the registration screen. You can install EmbroideryWorks on multiple computers that you may own.
Overview
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OVERVIEW
Below is a picture of the EmbroideryWorks window:
• As with most programs at the top of the window is the Main Menu, and below the Main Menu is the Main Toolbar. These two components are always available and handle the most significant com-mands of the program.
• The Tool Pane is a little different. It will display different contents, depending on what type of task you are performing. For instance, if you are running the Sewing Simulator, the controls for the sim-ulator will appear in the Tool Pane.
• The Main view displays the current Design Page. A Design Page is a representation of a .BE file, which can contain multiple embroidery designs, lettering objects and frames.
• More than one Design Page can be open, and these are selectable by using the tabs above the Main View, just below the Tool Pane. As you save Design Pages, they will take the names you have given them. Until a page is saved, it will be called “Untitled...”
• The Status Bar provides relevant information about what is going on with the program’s current operation. For instance, if you are measuring items, the text in the bottom right corner of the Status Bar will update with the measurements created by that tool.
• The Navigation view provides an easy-to-use way to navigate around the current design page, and to control the zoom for it. This is especially useful when you have a lot of objects on a large design page and you want to go from one place to another without repeatedly zooming and scrolling.
• The Objects view displays Designs and Objects in sequential order as they are opened or merged onto the design page. Each root (leftmost) item in the Objects view is a Design. A Design or object may be, for example, a lettering design, or perhaps a regular embroidery design.
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• The Designs in the Objects view can have objects within them. To view those objects, click the ‘+’ which opens up the tree, thereby ‘disclosing’ the objects in the design. With a normal embroidery design merged into the page, you will be able to see individual colors within the design once you click the ‘+.’ Some designs, like lettering designs, may not disclose their individual objects because all editing is done via the Properties view.
• The Objects view can also be used to select designs and objects, which is useful when objects within a design are grouped, such as with regularly merged embroidery designs.
• The Properties view displays information and controls for the currently selected objects and de-signs. For example, if a single-color design such as lettering is selected, you will see in the ‘Color’ property page only the single color for the lettering. If no design or object is selected, the Color property page is shown and the colors for the entire design page are shown.
The EW Library Window
The EW Library window is used to merge designs into the current Design Page. Individual design collections will appear on the left. These collections are ones that are included in
EmbroideryWorks and MonogramWorks. They are special designs because they will generate their stitches dynamically as you size them, similar to the lettering.
Everyday includes 1 library; Advanced includes 6 libraries.
Clicking on a collection icon on the right will result in the designs from that collection to appear on the
left. To import a design, select it and click OK. You can also double-click on a design to import it and close the window.
Note: In most cases, the merged library design will be placed on the screen to fit the hoop, whether
the hoop is displayed or not. If you have a very small hoop selected, the library design may be too com-plex to be shrunk to fit the hoop. Library designs can be resized to the desired proportions after place-ment.
Note 2: Whenever you add any design—whether Library, Lettering, or any design file—it will be ini-
tially placed in the center of the hoop. If for some reason you don’t see a newly added design, zoom out so that you can see the center of the hoop.
Overview
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The Stitch Files Window
The Merge Files Window is used to merge existing embroidery files into the current Design Page.
The Browse view on the left side is called a ‘Tree’ control, and it has a ‘Root’ level, which is left-most
and ‘branches’ which you can open and close using the ‘+’ and ‘-’. You will also see individual .ZIP files as branches, so you can import designs directly from within those as well.
On the toolbar, there are controls for thumbnail size and 3D display. The ‘Close’ button (icon or small red button in upper left corner of the window) will close the window without importing anything.
The ‘Select All’ button selects all the designs in the view on the right. To bring designs in, click ‘Import’. As with most similar views on Mac, the thumbnail view on the right allows single design selection, by
clicking on an item. But also you can select a range of designs by first selecting a design then holding the shift key down and clicking another design. Additionally, you can use the command key to click on differ-ent designs that are not next to each other, and that will select those too. This is called a disjointed selec-
tion. On Mac, you can also drag-select. You won’t see the typical marquis around the selection; instead,
you’ll see check marks on the selected designs. You can also double-click on a design to import it and close the window.
Design Pages
A Design Page is where designs and lettering can come together to form a composition or a scene. That page is also represented as a single embroidery (or working) file. For example, you may have merged multiple embroidery designs, added a couple lettering designs, and then surrounded them with a Library frame. All those individual designs exist on the Design Page. That scene can be saved as an em-broidery file for use in your machine, and it can also be saved as a ‘Working File’ (extension: .BE), which allows for editing later. (Suppose you miss-typed some lettering.)
As Design Pages are opened or saved, their name will appear in the Tabs above the Main View. You can switch between Design Pages using the Tab View. This is handy for clipboard operations such as do-ing a copy and paste between Design Pages.
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An asterisk in front of a design name indicates an unsaved design. The darkened tab
is the active window. Moving the cursor into a tab displays the close box.
Designs
Each Design on a Design Page is one of the three types, ‘Embroidery Design,’ ‘Lettering Design’ and ‘Library Design.’ These design types work together to build useful embroidery compositions. The designs are visible on the Design Page in the Main View, and the sequence of the designs is visible in the Objects View.
Designs are collections of objects. For example, a merged embroidery design is a collection of color objects, each of which contains stitches for a single color in the design.
Designs may be ‘Grouped’ which allows you, the user, to select and move the design around in the Main View as a single design. By default, when you merge an embroidery design into the page, it comes in as grouped. If you want to change one or more colors (or objects) in the design, you have some options:
Ungroup the design, which makes each object selectable in the Main View. Select the object or objects in the Objects View. Designs as they appear in the Main View may be ‘Locked’ which prevents inadvertent moving or edit-
ing. The lock may also be used to hide the design(s). The state of the Lock is set using the Objects View toolbar.
Objects
Each Design on the design page can contain one or more objects, each of which contains colors, stitch-es and other information. The only objects you will see are individual color objects within a merged em-broidery design. Each object can be moved, edited, deleted, etc.
Managing Views
This interface can be configured and the configuration is persistent, i.e. it is remembered between program invocations. The Objects and Properties views along with the Status Bar can be hidden (individ-ually or together) via the View > Manage Views… menu. Clicking a menu option will toggle its current
state. Checked views are enabled, unchecked are hidden. If you have a small screen and a design with a lot of objects, you may want to hide the Properties view
so that the Objects pane can be expanded. Similarly, you may want to hide both views to maximize the Main view for designing.
Overview
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If you have a really large monitor, you may want to adjust the divider to shrink the Objects and Prop-erties views to their minimum width.
Files
EmbroideryWorks uses a few different file types, each having its own file extension. For example ‘.BE’ is a working file. This file type contains all the Designs and Objects representing a single Design Page. These designs and objects can be edited, as they have not been forced to become a simple set of stitches, which is what most machine-embroiderable files are.
Licensed files, such as fonts will have .BF and .LF files. These are installed by the installer for our col-lections. You cannot edit or use these files as a user. The program loads them automatically as needed.
Stitch files, which in the commercial embroidery trade are called ‘expanded’ files such as .PES or .DST are simply collections of stitches, and if you are lucky, colors.
Saving
When you save a Design Page it will ask you to choose which Stitch File type you want to use. For ex-ample a Baby Lock / Brother embroidery machine owner will choose .PES as the stitch file type. In addi-tion, the program will also silently save a working file (.BE) thus saving you the extra step of saving it separately. As mentioned earlier, the working file allows you to edit your designs including text. If you want to save individual files (not both stitch and working) you have all the options on the File menu.
Open vs. Merge
Files can be ‘opened’ which starts a new Design Page in the Main View so that you can see the open file. Use Open for .BE files.
If you already have a Design Page open, you can ‘merge’ files, which adds the contents of the files to whatever you have on your page currently. To merge a file click on the Merge icon on the Toolbar or go to File/Merge Stitch file or Merge Working file.
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THE MAIN VIEW
Design pages are displayed in the Main View of the program. There can be multiple design pages open at any given time. For each page in use, a Tab control is displayed at the top of the Design page. Additional Design pages are added by clicking the New button on the Main tool bar, by pressing Command+N by choosing New Page from the File menu or choosing New from the Window menu:
Creating a new design page.
The Tab control will display the name of the file associated with the page once it has been saved, oth-
erwise it is named “untitled x” where x is a running number. The Main View has a background, a hoop, and rulers along the side and, naturally, the designs you
have placed in the Design Page.
Zooming
Zooming is handy for edits, and this makes the process of zooming more conven-ient. Also, one of the options in the program is to be able to use a mouse wheel to scroll the design page up and down. If you have this mode on, the zoom slider is another use-ful tool. Just a reminder, there are also keyboard shortcuts for zooming: ‘z’ zooms in, and ‘Z’ (shift-z) zooms out.
The Main View
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Zooming can also be accomplished with the Zoom Menu and Toolbar co ntrols.
• ‘All’ zooms to all objects on the design page.
• ‘Selected’ zooms to selected objects on the page.
• From the Zoom menu specify what should be zoomed: the Hoop, All elements or the Selected ele-ment or choose the amount of zoom.
Tip: Memorize the keyboard shortcuts for the Zooming and Panning; using them can speed your de-signing! Use the Zoom slider to zoom on the Main view. Up zooms in, down zooms out.
There are zooming keyboard shortcuts:
• ‘z’ to zoom in
• Shift + Z to zoom out.
• 0 = Fit Hoop
• ‘A’ to zoom all
• ‘S’ to zoom selected
• 1 - 9 will zoom to 100%-900% of real-world scale.
Magnify
The Magnifier on the Main toolbar will let you change the zoom in three ways after you click on it:
• Left-click to zoom in
• Right-click to zoom out
• Drag a rectangle to zoom on just that area. (This will also cancel the tool.)
Note: The Overview or Navigation window can alter the zoom too, and we’ll cover that in its own
chapter. Note: If you have a single button mouse, Ctrl-click should perform the same function as a right
click on two-button mouse.
Measure Size and Counts (Stitches and Colors)
The Measure button on the Main toolbar will set the program in a mode, which allows you to measure items in the Main View.
As you drag the cursor, you are measuring the distance you’ve dragged. This distance is displayed on
the status bar:
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To cancel measuring, click again on the Measure button in the toolbar, or click the Selection Tool (ar-row) in the toolbar. Items that are selected also have their size, stitch count, and color count shown in the status bar. If nothing is selected, then the size and counts for the entire Design Page will be shown.
Viewing in 3D
The default setting for the Main View is to display stitches in a realistic 3D, which lets you easily see where the needles will penetrate the fabric. This can be turned off using the ‘3D’ button on the main toolbar.
Background and Grid
You can alter the background of the Main View. Click the Preferences button on the Main toolbar. This will bring up the Program Preferences window, which allows you to set many program and Design Page options. Click on the Grid Settings to adjust them.
To change the background color, click the Color button, which will display a standard Macintosh color picker:
The Main View
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You can even create your own colors and add them to the custom colors section. Select a Custom color and click OK to set the new color.
Adjustments:
• The Grid is adjustable too. You can alter the display of gridlines by choosing between lines and dots. You can also set the spacing of the grid, and that can be set separately for both metric and inch settings.
• The arrow buttons, labeled “>>” and “<<,” will copy the settings from inches to metric and vice ver-sa. Thus, you can set up a grid that has metric spacing for machine/hoop accuracy, but can display information to you in inches.
• Snap-to-Grid will help align objects to the grids as you move them in the Main View. As you move in one direction (up, down, left, right) the edge of whatever you are moving will ‘stick’ like a magnet to the grid as you approach a grid line in that direction. If you want to overcome the snap-to-grid, you can pass the grid and then come back in the reverse direction. (Which means the opposite edge will want to snap to some other grid.)
• Grids do not force you to stick to them when Snap-to-Grid is on. Rather, it merely enables the snap as you get close, which may help with precision alignment as you move things around.
• Using the menu or the Grid button on the toolbar, you can turn the Main View display of the grid on and off.
Hoops
• The hoop that you will view in the Main View is chosen for the Design Page using the Preferences Window also.
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Hoop selection. This is what a hoop looks like in the Main View.
Using this window you can select different hoops, the selected hoop to be shown rotated 90°, add new hoops of your own creation or edit the selected hoop. The ‘Defaults’ button reloads the hoops that are in-stalled with the program. This is useful if you update the program or have previously deleted some de-fault hoops.
Note that when you create a new hoop or modify an existing hoop, that you are really defining the
sewing area, or what is known as the sewing field, not the physical dimensions of the hoop. You must know your machine’s embroidery field as you cannot create a hoop that is larger than what your embro i-dery machine can sew.
Note: When you create a new hoop, it will become the selected hoop. Trouble shooting: “I can’t see the hoop and it’s checked in View > Draw Hoop.”
There are 3 primary reasons this can occur: • A very large hoop may be outside the visible work area • A very small hoop may be completely covered by the design. • Designs are outside the range of the hoop and your view is zoomed in, causing the hoop to be
outside the currently visible area
Check the status bar at the bottom of the window for hoop information, which displays the selected hoop whether it is visible or not. Zoom out to find the hoop (if it isn’t buried under your design).
Left: Hoop is outside the visible display area. Notice you can see the hoop cross hairs. Right: Hoop is almost entirely covered by the design. Notice the design size is highlighted in red to warn
you the design exceeds the selected hoop.
Display Calibration
The Main View is calibrated to a real-world scale for precise display of designs. Use the Preferences Window to calibrate your display for real-world size:
The Main View
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Hold a ruler up to your screen and adjust the slider until the measurement in the program matches
your real-world ruler. This will help you better estimate real design size while editing designs.
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The Mouse Wheel
If you have a mouse with a scroll wheel, you can use it to zoom the Main View in and out. It can also be used to scroll the page up and down. We recommend that you use the setting that allows for zooming as this is more useful to most users.
Ghost Mode
Ghost Mode is an option relating to how the Main View displays objects when not selected. The idea for Ghost Mode is to make it more obvious which objects are selected by fading out those items that are not selected.
Left: Ghost Mode on. Right: Ghost Mode off (slider at 100%).
The intensity of the Ghost Mode can be altered with the Preferences.
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Panning and Scrolling
The scroll bars at the right and bottom of the Main View can be used to scroll the view around, which is very useful when you are zoomed in.
There is also a mode that allows you to ‘Pan’ the design, which works like a scroll, but where you move the view by dragging the mouse. Hold the space bar down and drag the mouse to pan the view.
Auto-Scroll As you drag on the main view, you may come near the edge of the page. This will cause the page to
scroll thus enabling you to drag into a position that’s not currently in view.
Selection
One of the most common tasks in the Main view is to select items. Using the Selection Tool (Arrow button on the main toolbar) you can select and move items in the design page. Select items by
clicking on them. This will place ‘handles’ and a dotted line around the selected items.
You can also see that items are selected by looking in the Objects view. Another way to select items in
the Main view is to drag a rectangle around those items. Anything completely in the rectangle will be se-lected. However, if an object is grouped with something outside the rectangle, it will not be selected.
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Status Bar
The status bar is located at the bottom of the program window. Size, stitch count and color count in-formation appear on the right side of the status bar. If you have no design selected, then the display will contain information about the entire design page. If you have something selected, then the information contains the word, ‘Selected’ and represents only those selected items.
You can double-click on the size information in the status bar to quickly switch between metric and inches on the design page and status bar.
The status bar also has a line of text on the left that can provide additional information about an on-screen control. Hover the mouse over a control, specifically a toolbar button, and the status bar may pro-vide additional clarification of what the button does.
NAVIGATION
The Navigation H.U.D. (Heads Up Display) is an ingenious device that keeps navigation tools readily available, yet tucked away, for easy access to the entire working area on your Design Page. To access the Navigation H.U.D. (aka: Nav H.U.D.), click the Compass Rose icon at the top of the
zoom slider in the upper right hand area of the main view.
The Nav H.U.D. is especially useful when working on large designs and/or a small monitor. It quickly
gives you a bird’s eye view of your work area as well as a nice “you are here” indicator. In the following image, the area around his eyes will be centered on the screen.
As you move the cursor, the ‘+’ indicates the area of focus. The panel lets you pan around the design
page. The benefit is that you can make edits to different design sections while you are still zoomed in to a comfortable level.
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The Nav H.U.D works in conjunction with the Pan Tool, which is accessible by holding down the spacebar.
Hold the spacebar and drag with this cursor to pan.
Whereas the Pan Tool is useful for moving around the area you are currently working in, the Nav
H.U.D. makes it easy to scroll across the entire page to a specific place in one easy step. The chosen hoop is shown in the Nav H.U.D. whether that hoop is visible or not. This is because the
size of your workspace is related to the size of that hoop. The selected hoop is a visual reference only and does not prevent you from designing or saving projects larger than the selected hoop or, for that matter, larger than your machine can sew.
Therefore if you have a small hoop selected and a design that well exceeds the hoop boundaries, it is possible that you won’t be able to navigate to the outer reaches of your design. The solution is to select a larger hoop from the Environment > Hoops option in the Program Preferences panel.
Same design with the hoop set to 60mm x 40mm with the cursor shown
at the upper left limit. Parts of this design are inaccessible.
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Normally, once you’ve panned or zoomed in the Nav H.U.D. the panel will automatically close when you release the mouse. If you’d like to leave the Nav H.U.D. open while you move to several locations, click the ‘Pin’ button just to the left of the close box. Once pinned, the panel will stay open until you click out of it, or click the ‘Close’ button on the top, right in the H.U.D.
Unpinned (default setting) Pinned
Notice on the top of the Nav H.U.D. are three small buttons labeled ‘A,’ ‘S,’ and ‘H.’ These buttons cor-respond to preset zoom settings of ‘All,’ ‘Selected,’ and ‘Hoop,’ whose keyboard shortcuts are respectively ‘A,’ ‘S,’ and ‘0.’
Just below the compass rose icon is a zoom slider. Slide up to zoom in, down to zoom out. Click on the ‘+’ and ‘-’ buttons to zoom in and out also. If you’ve ever used an online map, this zoom slider control should feel familiar. The slider control also responds to numeric key entry. For example, pressing 5 will move the slider control to 500%.
OBJECTS VIEW
The Objects view shows the designs that have been opened or merged onto the Design Page and objects within those designs.
Notice that the designs are numbered in the Objects view. The de-
signs or objects are numbered in the order that they have been opened or merged onto the design page. In the illustration to the left, lettering was opened onto the Design Page first. So, it has been numbered 1. The following merged design is number 2 in the sequence. When re-sequencing objects the numbers will change accordingly.
Using the Objects view designs may be selected, sequenced and de-
leted. The Objects view can display individual objects within designs where allowed. Stitch files (merged embroidery designs) are one example of a Design Type that allows the display of individual objects within the design. Clicking on the ‘+’ at the left of the design will expand that design in the Objects view. Under that design will then appear the individual objects.
Auto-Scroll As you drag on the Objects view, you may come near the top or bottom edge. This will cause the view
to scroll thus enabling you to drag into a position that’s not currently in view.
Selecting
Using the Objects view you can select any number of Designs or Objects, regardless of whether or not they are locked, hidden or grouped. This allows for editing of objects or designs without ungrouping. For example, the following design is all grouped so that it can be moved around the page as a single design. However, you may
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want to select just the second color to change it, re-sequence it or even delete it. The toolbar on the Objects view also has selection options including ‘Select All’ which is the first but-
ton on the left. If the Main view is active you can also type Ctrl-A to select all or you can use the Edit menu for this option too.
Reverse Selection
The second button will reverse (invert) the current selection. This means that whatever you have selected will no longer be selected, but everything else will become selected. This is useful when you
want to delete everything except for a single design element. Range Selection Using the Objects view you can select multiple designs or objects. If a single object is selected, you
can use the shift key while clicking a second object and this will select a range of objects: Everything in between the two will be selected.
Disjointed Selection If you use the Command key while clicking on objects, you can singly select designs or objects. To de-
select an object that’s already selected, Cmd-click on it. This will reverse its selected state.
Selecting by Color If you want to select all objects of a given color, select one of the objects as described above. Then use
menu option, Edit->Select by Color. This will find and select all the objects on the page, which have those same colors in them. This is a handy feature to change the color of several things at once.
Locking
If you want to prevent designs or objects from being selectable in the Main View, you can ‘Lock’ them. Locking an object does not affect its grouping; it only prevents it from being clicked on. The second but-ton, a white lock with an ‘X’ on it, will not only lock the design or object, but will prevent it from being displayed in the Main View.
To unlock something, click the third lock, which appears as an open lock icon. Note: Locking does not prevent you from selecting it in the Object tree, where it can be resequenced,
copied, or deleted.
Sequencing
The sequence of objects and designs can be changed using the Objects view. One way is to right-click on a selected item which will cause a pop-up menu to be displayed. That menu has options to move items earlier or later in the sequence.
You can also drag and drop items in the tree to re-sequence them. Dropping an item (let’s call it ‘B’) on another (called ‘A’) will place that
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dropped ‘B’ item right after ‘A’ in the sequence. If you drag an object onto the design icon, then that drop will be placed at the head of the design.
You can also re-sequence selected designs and objects using the ‘Sequence Objects’ command on the Edit menu.
THE PROPERTY SHEET
When you have design or object items selected, there may be properties
that you can adjust. The Property Sheet contains individual ‘Property Pages’ that let you adjust the selected items. The pages are displayed as tabs. Click on the tab to work with the design or object items that are selected.
If nothing is selected, the Property Sheet will display the Color property page, which in turn will show every color in the Design Page. This is a con-venience that allows you to change colors on the page.
Note: Sometimes, users will confuse the Colors property tab with the Ob-ject View. You cannot select anything using the Colors property page. This page merely reflects what is selected and lets you change the colors on display.
The individual tabbed pages that you see will depend on the designs and objects that you have select-
ed, and we’ll cover those individual controls in the respective sections for the design types: Lettering, Embroidery and Library designs.
COLOR
Color is unexpectedly influential. We may be initially attracted or repelled by an item or design simply because of its color. The ability to view designs in realistic thread colors is an asset to the embroiderer.
You may want to recolor a design to better suit your tastes, to coordinate with the threads you have in your stash, or to color a design that you’ve con-verted from a format that doesn’t hold color settings, such as .DST.
When you merge a Library design, create a lettering design, or merge a stitch file, the objects come in with the colors and the thread brand that the designer has assigned—even if you have another brand specified as preferred (more on that in a bit).
If the merged stitch file is a .DST file or other format that does hold set col-ors, then threads cannot be matched to any thread brand and will simply be a list of generically named colors.
Tip: If you’d like to get an idea of how your design looks on a particular color, you can change the
background of your main window in Environment -> Grid Settings in the Program Preferences. Changing colors is done via the Color tab on the Property Sheet, which is the lower panel on the right
hand side of your screen. The color tab displays the thread sequence of the design. Selecting a color swatch on the tab doesn’t select anything in the design; it simply allows you to select and apply a differ-ent color from any of the thread brands loaded into the program.
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When first getting acquainted with EmbroideryWorks, it may be confusing to see what looks like two color lists. The top list shows a tree-like structure of all the various objects in the current main window. This includes Library designs, letters, and any merged files. In the sample shown below, a single design has been merged and the design has been opened in the objects panel so that all the various objects can be viewed.
Because this is a stitch file, each object is all the stitches that are contained within a given color. In this instance, when you compare the object list next to the color list, you’ll see that they match. For example, object 1:3 corresponds to color three in the following samples.
The color tab will show the colors of the currently selected object(s). If nothing is selected, the list will show all the colors on the current design page. You can select areas of your design by clicking them in the
object list. You can select more than one area by holding down the Cmd key.
The colors list only shows the colors of the selected items.
Thread Brand and Color
There are three buttons across the top of the Color properties tab: Thread… Select a thread library to use and set a preferred thread brand 1 Color… Make the design monochromatic (one color) Preferred Change the colors to the closest match in your preferred thread brand To change a thread color, simply click on the color swatch that you wish to change on the Color tab.
The Thread palette will open up with the color selected in the original thread brand specified by the de-signer. You can select a different thread line from the drop down menu and the program will find the closest match in that chosen thread line.
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EmbroideryWorks includes a wide range of popular thread brands and lines.
Note: In the case of a DST, TAP or EXP file, the Color tab displays a list of generic color names. This is
because these formats have no color information in them. Using EmbroideryWorks you can color these designs, and when you save the working file, the colors will be saved there.
Similarly, PCS, PCM and HUS formats have limited color palettes. Again, saving the working file will preserve your colorization, and you can print colorized design templates and color information. This is especially handy for commercial embroiderers.
Clicking one of these color swatches will open the thread brand that you have set as preferred (Ma-
deira Thread Chest is the default). To change the color, navigate to the desired color and click OK.
.DST file shown with generic colors and the thread palette displayed.
Some thread lines only have thread numbers, while others have numbers and color names. You can search either line by thread number but you can only search by name if the threads have color names. Type in the color or thread number in the search box and click ‘Go.’ Or, you can simply scroll through the list and pick one that appeals to you. Once the color is selected, click OK to apply it and close the Thread palette.
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Threads can be searched by number or name.
There are two buttons on the top left of the window, ‘Threads’ and ‘Palettes.’ Most colors you will choose come from a thread chart. However, if you have created a palette using the Thread Editor, or if you want to reuse a current design page color, select ‘Palette.’
The ‘Thread…’ button allows you to change thread brands or to set a preferred brand by choosing a
thread brand from the pop down list. Once a preferred brand is selected, you can easily change all the colors in any design to your preferred brand by clicking, ‘Use this as my preferred brand.”
A thread brand can be selected on a per-design basis or can be made preferred.
Note: Be advised that while this may be convenient for you, if your design has carefully chosen and
blended colors, converting brands may cause a less than desirable result—especially if a “close match” does not exist in the new brand. Along these same lines, switching to a series of different brands and then reselecting to the original brand may not result in the same original thread colors.
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Left: Original Hemingworth colors. Right: Shown using Brother Flesh Tones.
The color list does not name the areas that are colored. For example, suppose you want to change the
pink shorts on the mouse design to blue. An easy way to do this is to find the area in the Object panel and select it. The color is now isolated in the Color panel and you can easily click it and select a blue.
Coloring Letters
Coloring Letters works a bit differently. To color individual letters, click on the center of the letter to select it. Then, as before, click the color swatch to select a new thread color.
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Color Sorting
The “Happy Birthday” design has 6 unique colors but 13 color stops. To make it more efficient for sewing, you might like to optimize the sewing order to reduce extra color changes.
Because letters added together are considered one object, you can’t selectively rearrange them in the object tree. Fortunately, there is easier method accomplished via Color Sort, which can be ac-cessed on the toolbar just to the right of the Undo and Redo buttons.
Clicking the Color Sort button displays the following dialog window:
Notice our design has been reduced by 7 colors.
Click ‘Save It…’ to save the color sorted file as a stitch file. If you don’t change the name, the program will append “_sorted” to the end of the current file name. Your original working file (.BE file) is preserved and not changed.
Color sorting can be useful in designs like this or designs that have poor sequencing. Color sorting in this program is intelligent, meaning it doesn’t indiscriminately combine all like colors together. It looks for layering and knows that some colors simply must be repeated.
Note: Do use caution when color sorting. Some designers have intentionally added extra color chang-
es either for design flexibility or to optimize registration. For this reason, always Color Sort a copy of a design!
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Deleting Stitches by Deleting a Color
Often you will want to delete a section of stitches from a design that has been merged. When those stitches are all grouped as one color this is easily accomplished using the Object View. Open the design using the ‘+’ in the tree. Next, select the color you want to delete. Next, choose ‘Delete’ from the Edit menu or use the ‘Delete’ key on your keyboard.
Below, the first color of the design is selected. Simply press ‘Delete’ on your keyboard to remove the first color along with the stitches associated with it.
Note: Another way to delete is to use the menu, Edit->Delete.
Left: Color is selected. Right: Color has been deleted.
APPLIQUE
When you select a color by clicking on it in the Properties window, you will see the color window appear. This has two tabs, the first of which is to change the color, as discussed in the prior section.
The second tab is used to set applique states on the selected colors. This information is used by the program when removing overlaps, and adds other features such as saving a file for use in applique cut-ting machines.
When a color is assigned as ‘Applique Position’ or ‘Applique Material’ then that color becomes ex-
empt from having its stitches removed. They are likely to be hidden, but they are necessary when sewing the applique design.
Colors can be assigned as applique position or material in three ways:
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1.) Use the drop list on the Applique tab of the Color Window.
2.) Right click on the color ship in the Property window and use the context menu. 3.) Name the object in the Object Tree as Applique Material or Applique Position. The words can
be abbreviated: “Appliq Mat” or “Appliq Pos” are acceptable
Material
The ‘Material’ layer is used strictly to prevent the removal of stitches – first in the sense that the material stitches themselves are not removed, but additionally that the fabric inside the applique can ob-scure earlier stitches. As it is not good to have bulky stitches underneath an applique, those are removed. By way of example, you might want to overlap two or more appliques, and where they overlap, you want the minimum stitches necessary. Note that some designs do not have a separate material tack-down col-or. That’s okay to leave off in most cases.
Position
The ‘Position’ setting is always to be found in applique designs – otherwise they would not be ap-plique. The position of the fabric is sewn down, and then the applique is applied. Using this information we can do some additional things in the software:
1.) Generate a fabric simulation. The fabric is simulated using the chosen color of the object. You
can change this setting, and the color itself ‘live’ in the window to preview the results. When you find a suitable setting, you can click ‘OK’.
2.) Use an image such as a photograph or fabric swatch inside the applique shape.
3.) Create a print that is cropped to the outline, making it easy to hand-cut pre-cut appliques.
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4.) Print the cropped image on printable fabric or transfer paper for the effect of combined pho-
tography and embroidery.
5.) Inflate the shape of the outline. When digitizers create a design that will be hand-cut in the
hoop, they know that the embroiderer won’t cut exactly at the line of stitching. So when they make the ‘Material’ run, they often simply duplicate the ‘Position’ run – same size, etc. This creates an issue for Pre-Cut Applique as the ‘Material’ stitching will not catch the applique – it is exactly the same size. Using the ‘Inflate’ when saving for cutting machines will create an ap-plique that slightly hides the ‘Position’ and can be held in place by the ‘Material’ stitching.
6.) The ‘Position’ is usually a simple enough set of stitches to be processed into output for an au-
tomatic cutting machine. These machines will take a file and use that to cut the fabric. Having cut the applique beforehand makes the embroidery process much more rewarding.
The software analyzes the shapes created by the Position stitches and then creates a
simpler output for the cutters, and saves it to their file. .FCM for Brother Scan ‘n Cut and the .studio Silhouette products, along with .SVG and .PLT files can be saved. Nearly every cutter can make use of one or more of these formats.
Save the cut file and send it to your machine according to the manufacturer’s instruc-
tions. Generally speaking, applique steps are;
1.) Set the colors as needed.
2.) Save the cut file. 3.) Save the design file (working and stitch) 4.) Cut the applique.
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5.) Embroider the design. Alternately, you can still use the image in a print process, and pre-cut the applique by hand. There
are a lot of options!
Important Notes:
The type of stitching is important for the operation of the applique discovery process in the soft-ware. Generally, applique position steps are made from single running stitches, which may jump to other sections and/or holes. Most digitizers will do this simple run, and then add tie-off stitches at the begin-ning and end of each outline. Sometimes the outlines will not close perfectly, but the software overcomes this, as well as the tie-offs. But if the digitizer uses some other stitch, it is possible that the process will not be recognized as an applique when you want it to. The easy way to check is to turn on the fabric simu-lation. If that looks correct, you are good to go.
Also note that the program is not converting filled sections into appliques. That must be done by the digitizer who created the design. This process is to make using existing applique designs easier and more fun.
Preferences
The Program Preferences have a setting under “Files->When Saving” that can be used to turn on/off the use of applique in the removal of hidden stitches.
Also the use of the Program Preferences under “Printing” can allow selected colors to be printed. This can be useful for machines that scan in a printed output for the purpose of cutting, such as the Scan ‘N Cut.
The Thread Editor
The management of threads is a challenge for every embroiderer. And every embroiderer handles this differently. Some people are very organized and will colorize designs with only colors they actually own. Others resist changing threads at all. And of course commercial embroiderers ignore colors onscreen en-tirely and just run whatever colors the job calls for.
The Thread / Palette Editor provides a place for you to manage which threads you own, create small-er palettes for specific projects, and even share those palettes with others.
When choosing colors in the main program window, you are given the choice of picking colors from thread lines or palettes. The reason for this is to allow quick access to a current set of project colors, ra-ther than taking the time to scroll through a long list of threads and their complete color lists. Often, an embroiderer is working with a set of colors repeatedly and selecting through a long list when you, “Just want that blue I’m using,” would be tedious. For this reason, there is a checkbox that is used to determine whether the color list is shown as a thread or a palette.
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Note: For the purposes of discussion, the term “thread line” and “palette” are considered synony-mous, except when discussing the above checkbox.
The program ships with data for many thread lines, including some that may not be available to you in your area. If you would prefer not to have those threads show up in your list (while changing colors in a design), you can check the box labeled, “Do not display.” This does not hide the thread in the Thread Edi-tor, only in the Thread and Color properties when working with designs and objects.
The ‘Notes’ box can be used to type in any useful information about a particular palette. For instance, you might create a palette of colors for a particular job or project and you can enter information such as, “The blue design matches the print on the front of the shirt.”
Each thread brand or palette is stored as a file on your computer. As such, the toolbar has options for you to create new thread palettes, save a palette that you’re working on, and even delete a palette that’s no longer needed. These actions are performed by the left three buttons on the toolbar.
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Merging colors from different thread lines / palettes. The next button, ‘Merge’ will open a thread window that lets you select one or multiple colors to be
merged into the current palette. Also, there is a Delete button, which removes any selected threads from the current palette.
Multiple selections can be made using the Cmd and Shift keys while selecting with the mouse.
When merging colors from another thread or palette, the ‘brand’ for those colors will take the name of the current thread. This is one difference between a thread and a palette. If you merge colors into a pal-ette (the palette radio button is highlighted) then the colors will keep their original thread names.
Sharing Palettes If you would like to share or import a palette, use the two buttons on the right of the toolbar. Sharing
a palette is great when you are making a project that others will make too. Thread Inventory You can mark threads that you have in your personal inventory using the ‘Check’ and ‘Uncheck’ but-
tons:
Creating colors using the Advanced program version The Advanced version of the program adds the ability to create your own colors and add them to
thread lines and palettes. To create a new thread or palette, click the ‘New’ button on the toolbar.
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Click the ‘Add Color’ button to create a new color entry in the current thread / palette. Type in its name and thread number, if those exist, then adjust the color itself by moving the hue, saturation and val-ue sliders.
Using the ‘Sheen’ setting, you can alter how the thread will display when 3D rendering is turned on in the main display. You can also input up to four variegated colors on a thread. Using the ‘Var’ drop-list (short for variegated) you select the number of colors used. There will appear a set of buttons ‘V1’-‘V4’ each of which allows you to select and set the color for that particular variegation.
The color grabber tool (eyedropper button) will let you click in any window and pick up whatever color is under the cursor. This is very useful when you are building a thread palette from a document such as a .PDF or a thread manufacturer’s webpage. If you want to adjust the color visually, use the HSV (Hue, Saturation, Value) sliders until you get a color that you like.
Left: A typical thread list. Right: A variegated color in a user palette.
TRANSFORM CONTROLS
Sizing and positioning of design elements can also be accomplished using the Size and Position con-
trols panel located on the Tool pane. The first control on this panel sets the unit of measure for the design page. The choices are millimeters and inches.
The width and height of a selected design element can be precisely set by entering the desired value in the width and height text box and pressing the enter key. If an exact size is not known, the element can be sized as a percentage of its original size by entering a percent value in the percent text box and press-ing the enter key.
These controls are also updated as a design element is moved or re-sized using its handles. The element is scaled proportionally if the Scale Proportionally control is locked, otherwise height
and width changes are applied individually.
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Locked—Scale Proportionally
Unlocked—Scale Height and Width Individually
Notes: 1. If you have sized an element proportionately (percentage values are the same in both height and width)
and want to return to its original size, simply lock the Scale Proportionally control and enter a value of
100 in either of the percentage fields. EmbroideryWorks will remember the original size even when you
reopen the design at a future date.
2. If you have sized an element disproportionately and want to return to its original size, simply unlock the
Scale Proportionally control and enter a value of 100 in both of the percentage fields.
3. The lock has no effect on drag resizing.
Mirror and Rotate
The next four controls mirror and rotate selected elements. Mirroring is about the central horizontal or vertical axes of the selection. Rotation is clockwise or counter clockwise in 90 degree increments with the pivot point in the center of the selection. Alternatively, you can enter a specific value for the degree of rotation. Enter a positive value to rotate counter-clockwise and a negative value to rotate clockwise.
Centering In the Hoop
Centering in the Hoop can be accomplished by this button, although it is not necessary because, as a rule, designs are centered when stitch files are saved. This is also available from the Utility menu.
Fit to Hoop
Design elements can be scaled proportionately up to the hoop by selecting them and clicking the Fit Hoop tool. This will recalculate stitches wherever possible. There are limits, though, such as with regular embroidery designs, which can only be sized up to 250%. This button will scale your
design as large as it can go, up to the built-in limits.
Note: The design will not completely fill the hoop. Even if you have a perfectly square design and a
square hoop, you’ll notice a 5mm perimeter between the hoop and the design on all four sides. This extra space is desirable in case you add a basting stitch or need to adjust the design placement slightly at the machine.
Remove Hidden Stitches
When designs are overlapped, there may be stitches that are hidden, which you would like to have removed. This process is automatically done when you save a file (controllable by preferences) but you may want to preview the results before saving. The Remove Hidden Stitches
will run the process on those stitches so that you can evaluate the result. The result is temporary, however, so if you change anything on the design page, the stitches will return. This happens because changing a design will almost always regenerate its stitches.
Size and Move
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The lettering, the Library designs, and the merged stitch files can all be sized and moved. Existing embroidery files can be resized with stitch recalculation. You can resize embroidery up to
250% and down to 50%. If you want to resize an existing design without stitch recalculation, hold down the Ctrl key while dragging the handle.
• Click and drag on a black handle to resize the design.
• Click and drag the round blue handle to rotate the element.
Black handles resize, round blue handle in upper right rotates.
Click and drag anywhere on a design element to move it. As the design is moved off the page, in any
direction, the page will automatically scroll if the cursor is in the ruler area of the page. For finer move-ments (1mm at a click), the selected design element(s) can be nudged using the keyboard arrow keys. To move objects one stitch point at a time (.1mm); hold down the control key while pressing an arrow key.
When resizing, understand that not every design can be recalculated perfectly. Some designs such as cross-stitch and freestanding lace are not going to resize correctly. Another consideration is the level of detail. Highly detailed designs radically reduced will lose clarity and crispness as the details become squished together.
Note: This is one major benefit of the Library designs; they can usually scale and calculate their
stitches for you.
Align and Distribute
Alignment of multiple items can be set using the Align button, which will open the Align and Distribute window. Alignment will place the edges or centers of designs all on one line.
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If you have two or more items selected, you can align them. For example, these items are Aligned Left:
Distribution is different from alignment. Distribution places designs equidistant across a distance. This is useful if you want to make regular patterns, such as a tiled design. If you would like items distrib-uted across an area, move the first and last items to the outside areas that you want to fill. In this exam-ple, the (top, left) ‘A’ and the (bottom, right) ‘A’ make the design size. But notice how the ‘A’ designs be-tween those are not placed regularly? Distribute will make those ‘A’s into an orderly row:
Using ‘Center’ distribution will distribute these letters evenly, based on each letter’s center.
If you choose a different edge to distribute with, for instance, Left, then the distribution will be made using the left edges of all the designs. This can be useful to create a geometric composition with different sized designs.
Mirror x 4
From the Utility menu, you can call up the Mirror x 4 dialog which is useful to make a repeated pattern in the corners of the hoop. First, select the design you want in the corners, and position it in the top, left
corner. Then use the dialog to create the mirrors.
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Scatter
Scatter is a fun way to fill the fabric. First, select the design you wish to scatter. Then choose Scatter from the Utility menu. If you don’t see anything scattered, either nothing is selected, or the design is too large. Scatter works best when the design is small, relative to the hoop.
If you want to change the arrangement of scattered items, click New Patttern. Note: You can adjust the position of individual designs to perfect you layout after the scatter effect is complete.
Instant Repeat (Advanced)
From the Utility menu, select ‘Instant Repeat.’ This will call up a window that lets you create a pattern of designs, copied from the current selection, and pasted in rows and columns.
To change the values, you can click the arrows next to each value, or type in a value and then click on
another one to set it.
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As you change the values, you will see your result on the main view. Click OK to accept your new designs.
Above: An example of a repeated design.
Notice how the preview enables you to see the pattern as you adjust it, which helps if you’re trying to
fit an area, for example the hoop. Note: The initial design will be the (top, left) design, and the copies will go to the right and down.
Precise Position (Advanced)
You can precisely position designs using these controls in the Advanced version of the program. The three buttons on the (top, left) control the display of the x-axis position. There are Left, Center and Right, which means that when you have the Left button set, the display will be of the left edge of the design.
Similarly, the bottom three buttons control the vertical axis, top, center and bottom respectively. The position controls are very useful for creating tiled patterns.
Your best friends will be the top ruler and left ruler along the edge of the Design Page. You will notice
that center of the ruler is “0”. To the left of “0” is -. To the right of “0” is plus. Let’s place a design on the design page and get started with Precise Position!
Decide what size embroidery hoop you are going to use and open it onto the Design Page. You will no-
tice that there are four quadrants inside the hoop.
1. Open a design onto the design page.
2. Place the design in the top left quadrant. Note the numbers in the x and y location boxes. (-38.03 and
35.68)
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3. Select the design and right click to copy and then right click to Paste the design (Or Cmd-c and Cmd-v).
4. Click on Flip Horizontally.
5. Delete the “-” from 38.03
6. And hit enter. This will move the copied design to the right top corner.
7. Select the design and right click to copy and then right click to Paste the design.
8. Click on Flip Vertically.
9. Place a “-” next to 35.68 in the y location box. (-35.68).
10. Hit enter. The design moves to the bottom right corner.
11. Copy and paste the design in bottom right corner.
12. Click on Flip Horizontally.
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13. Place a “-” next to 38.03 (-38.03) in the x location box. Hit Enter.
14. Your frame is now complete!
This is a great way to align your designs without the frustration of where you placed the first design and how to get the others to follow suit.
Carousel (Advanced)
A carousel copy will create a circular set of the selected design. Select a design and choose Carousel from the Utility Menu.
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Stitch Files
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STITCH FILES
Clicking the Merge Stitch File tool found on the Design Toolbar or selecting Merge from the File menu will display the Merge Design Files
dialog. Here you browse for embroidery designs to add to the Design Page.
The Merge Design view allows you to browse thumbnails of your files and select one or more files in
import. Notice that the design’s details display at the bottom of the window.
• The Size control of this dialog determines the preview size of the design thumbnails (the design does not have to be selected for the determined size). The 3D control shows the preview in 3D, i.e. it shows simulated stitches.
• Click the Import control to bring the selected design(s) into the Design Page. The imported design will be centered on the Design Page.
Merged Stitch File behind Monogram
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The Sweep
The Sweep function, which is run from the button with the broom on it, will remove hidden and nested stitches within designs, as well as removing hidden stitches where designs are overlapped.
These patented filters operate on the colors of a design to help reduce the stitch count, remov-
ing excessive overlays and stitches that tend to ‘ball up’ on the underside of the fabric. Removing hidden stitches occurs as the program examines the design, looking for color layers that
overlap more than is necessary for compensation. If stitches of one color layer are on top of the stitches for another color, and those stitches are not visible, they can usually be removed. Stitches that would be overlapped at the edges of the colors are important for the design so as not to have gaps, thus they are not removed. What you get is a reduction in stitch counts, a reduction in sewing time and a reduction in puckering.
Note that the Sweep is different from the process that removes stitches from overlapping designs. The Sweep operates within a single design, whereas overlapped designs are ones that are merged in separate-
ly and then laid on top of each other. The processes are similar, but different in that way. Another differ-ence is that the Sweep filters are not temporary; they are re-run on the designs as they are adjusted (for instance by sizing.)
De-Clumping is a process where stitches within a single color are eliminated if they will gather up in small areas. These clumps of stitches can often prevent the hoop from moving freely by forming a ball under the fabric, which can anchor the needle in one area. When and if the hoop finally pulls away, the user often hears a ‘clunk’ sound and their project will probably have a gap, as registration may have been lost.
Occasionally one of the sweep filters will leave an undesirable result, which is visually evident. As a rule, these filters do a great job, and if the design looks good on the screen, it will sew nicely. However, if you see something onscreen that you don’t like, you can prevent the Sweep from running on individual colors using the Stitch Properties tab.
Stitch Properties
The stitch properties tab appears when a stitch design is selected. There are controls where you can add or remove up to 25% of the stitches by increasing or decreasing the density of the selected items. The slider controls will separately allow the adjustment of satin stitching and fill stitching, which allows very specific control.
Note: You can also prevent Sweep operations for occurring on certain objects or designs when you want to.
If you are an EmbroideryWorks Advanced user, there are addi-tional controls, which also tie in to the Project Advisor and the StitchPerfect system.
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Stitch Properties (Advanced)
The Advanced version of EmbroideryWorks allows for more control of the stitches using our StitchPerfect system. The Stitches property tab adds controls to use the project settings from the Project Advisor to remove stitching, De-Clump, and limit the density.
Use Automatic Settings: makes use of the Project Advisor project to identify the fabric density, thick-ness, stretch and material being used. The needle penetrations are then adjusted accordingly.
Limit Density: Certain combinations of fabric and stabilizer have limits on the number of stitches per
square millimeter. More than that causes poor stitching or puckered fabric. Using the Project Advisor, the limiter will reduce the stitch counts in the affected regions.
De-Clump: Within sewing a single color, areas sometimes get too many stitches overlapping in small
groups. These areas form clumps of thread on the back of the fabric, which can become entrapped in the needle plate. Sometimes this traps the embroidery in one place and causes loss of registration. De-Clump reduces these stitches.
Remove Underlap (intra-design): Often a design has color layers that have some overlap for the pur-
poses of registration. However, many times these regions are a result of auto-digitizing and poor results follow. The so-called, “Bulletproof Embroidery,” is an example. When stitching enters an area within a de-sign that will be covered by a later color, those stitches can often be removed, and that is what this does.
Note: This is different from removing hidden stitches created by overlapping separate designs, such as in a composition. This filter works within a single design.
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PROJECT ADVISOR
The Project Advisor is a patented expert system, a form of artificial intelligence, which helps
you select stabilizer, needles and hooping techniques for many common projects.
The system also provides instructions, helpful how-to advice and some words of caution when neces-sary. First, you select a project from the list. If your exact project or fabric is not listed, there are enough choices available where you can choose something very similar. Next, you can tell the Advisor if your fab-ric has more or less stretch, and you can adjust thickness. The Advisor takes your input into account as it makes its recommendations, which are displayed as text in the window.
Both the backing (under the fabric) and topping (on top of the fabric) stabilizers are recommended.
EmbroideryWorks Advanced users will also have the StitchPerfect system, which extends the Project
Advisor settings to actually adjust your designs’ stitches for the chosen project.
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StitchPerfect (Advanced)
When you have chosen a project, the Advanced version of the program lets you set that project on the design page so that the Stitch Perfect filters can use it.
If you would like to clear your project, you can click on ‘No Project.’
The StitchPerfect system stores information such as Fabric, density, stretch and stabilizer to help the
filters for stitch files minimize the pucker and gather that occurs when designs are used on lighter fabrics than for which they were digitized.
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OTHER UTILITIES
Add Knockdown Stitching Utility
When sewing on terry or any fabric with loops and nap, gen-erally a topping stabilizer is used. These can be helpful, but have a limitation: They do not hold down the nap past the actual stitch, which means outlines can be lost in the surrounding fabric. Using the menu Utility->Add Knockdown Stitches you can create a gloabal un-derlay for the entire design. The underlay extends a few millimeters past the edge of the design, which helps the overall effect.
Save Image
You can quickly save a transparent .PNG file of your design page with this item, found on the Util i-ty menu. This is useful for putting designs on the web, in print, etc. The images above were created with this utility.
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OTHER PREFERENCES
There are a number of preferences for the program and design page that can be adjusted. Click on the Preferences button to reveal these controls.
Sizing of Design Files (Advanced)
When you resize a regular stitch file, the density would normally get more or less dense, but Embroi-deryWorks will recalculate the stitches for you automatically.
That recalculation process is complex and difficult, so there are some settings you can adjust to
achieve optimal results. The sensitivity control is used to control how well the program discovers fills and satin stitches. If you have a design that has a lot of manually created stitch effects, then you may want the sensitivity higher, whereas normal designs that are digitized with objects like fills probably don’t need so much sensitivity, especially if there is blending going on.
• Gap Reduction is a function within the software that helps adjacent areas lessen gaps that might be exposed or widen during increases in size.
• The stitch length filters are used to prevent loopy stitches on the fabric due to stitch elongation, and in the other direction, small stitches from gathering on the fabric making too many perfora-tions or simply bunching up the fabric.
The settings are broken out by stitch type because the handling of satin stitches is special and you may want to achieve a split-satin look at a certain size.
Embroidery Hoops
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In the Preference window, under Environment, you can choose a hoop. Hoops are displayed in a sort-
ed list, organized by embroidery file format. Most embroidery hoops are made using the metric system, so the sizes for the hoops are displayed according to the way the manufacturer sells the hoop.
There are two types of hoops offered by EmbroideryWorks. Those are Normal hoops and Multi-Position hoops. Multi-Position hoops are those that offer more sewing area than the machine can sew at one time. So the hoop (or fabric) gets repositioned to allow a larger design to be sewn.
There are many hoops that are built into the program, and you can add your own. As the program up-dates over time, or if you have edited a hoop, you can use the ‘Defaults’ button to restore the program to the hoops provided. The ‘Default’ button will not, however, remove any hoops you’ve added yourself.
Many times you will want to sew a design sideways in the hoop. But rather than laying out your de-sign sideways, it might be convenient to have the hoop displayed as rotated. Checking the ‘Rotate 90’ but-ton accomplishes this.
If you have added a hoop, or if you decide to have the program display only the hoops that you own, you can delete hoops from the list, using the ‘Delete’ button.
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You can create hoops and edit hoops too.
The width and height fields are self-explanatory, and you can name your hoop as desired. Hoop names
should be unique. Note that in the Everyday version of EmbroideryWorks you cannot create or edit Multi-Position hoops, but you can do this in Advanced.
Note: Do not create a hoop that is bigger than the sewing field of your embroidery machine.
File Conversion
Designs can be saved into many different formats. The Conversion Preference allows you to adjust some parameters when you save in those different formats.
The file format itself may have inherent limitations on the number of colors or stitches, such as the 16
color limit in .PCS. But there are also machine limitations too. Older machines that use the .PES format
had limits of 100 colors, whereas the newer ones can go to 127. To help you save files correctly for your machine, there are options for some formats, such as .PES.
PES files have to support two distinct machine types, and also have different data for the support of card reader/writers, which many .PES machines required. Let’s look at the .PES options more closely.
“Use version 5 and later for real threads.” This setting exists because the version 5 of the Palette/PE-Design software, which invented the .PES file, added support for real thread colors. This was a wonderful addition for this format. However, if you own an earlier version of the software, and you want to use files created in EmbroideryWorks, then you need to leave this set to “Force version 1.” The reason is simple: The old software simply cannot open those version 5 files.
The Machine specific settings are for machines like the Ellegante, which takes the 180 x 300 hoop (while other machines may not be able to accept this hoop, so why write a file for it.) Or the multi-needle machines, which have their embroidery field rotated to a landscape position. So a 200x300 or a 300x200 field, while technically the same size, have different rotational parameters.
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Certainly you know if you have a multi-position machine, or require the use of older software to write your card. If not, or if you are distributing these designs, please just leave the settings as-is. The program actually finds a Lowest Common Denominator in the format that it will output, making the file available to the widest range of users.
DST and EXP Files have a different type of information contained in them where it pertains to jump stitches. Rather, those formats have to have some number of ‘Jump’ commands in a row before they will cycle their thread trimmer. When making a DST file, and converting from something else, these jump commands need to be translated. As machines differ in setup for the number of commands needed to cy-cle the trimmers, we offer this setting in the conversion preferences.
Preferred Stitch Format
Most embroiderers have one machine or other that they use most for embroidery and that machine has a format that it uses. To save time, the format that you choose here will automatically be selected dur-ing the save.
Note: Even though you have set a preferred format, you can still choose File > Save Stitch File As if
you need to occasionally save in a different format. After selecting a new format in the Save As dialog box, that format will “stick,” over riding the Preferred Stitch Format until you either reselect the preferred one or a new one.
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Removing Overlaps Preference
When creating a composition, you can arrange designs so that they overlap. EmbroideryWorks auto-matically removes the overlapped stitches using our patented system. When you save your design, the stitches will be automatically removed. If you prefer this not to happen, uncheck the box and click Apply.
Auto Recover
Auto recover will save your file in a separate space every so often. This is adjusted using the slider. This feature is useful when working on a complex arrangement where a power outage or program crash (unlikely) or freeze by the operating system (it happens) could force the program to quit and you might lose your work. If you are working while power-outs are happening, well, turn this on. And don’t run your embroidery machine; brown outs are not good for them.
Checking For Updates
The program can check for updates if it is running on a system connected to the internet. This will oc-cur once each day, the first time that you run the program. The program does not send your information or anything about you or your computer to us. It merely checks the current version available online for your program and if there’s an update, it lets you know. If you don’t want this, you can turn this off.
You can also check for updates at any time from the option in the Help menu.
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LETTERING
Creating a simple letter design or monogram is, well, simple! Just click the Create Letters tool found on the Design Toolbar. This action will place the new lettering in the center of the design page and display the Letters Property tab.
Lettering Button
Design Toolbar
Monograms vs. Letters
Traditionally, monograms were a single letter—“mono” meaning one and “gram” referring to the let-ter. Today most monograms are 3-letter combinations with the center letter larger than the outer two.
Fonts or letters styled specifically for such monograms are prefixed with “MGM” to easily distinguish them from more standard fonts. Of course, you can make a monogram with any font style and use the en-veloping features to shape the design.
Monogram using MGM Diamond
Monogram Properties on the Single Line Page Now, set the monogram to your desired value by typing into the Text box and pressing the ‘Enter’ key.
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Selecting Letter Type
Although the fonts prefixed with “MGM” are designed for traditional three-letter monograms, you are by no means restricted to three letters. For example, if you just want the large center letter, enter a space and the character you want.
Type a space before a letter for a large single letter
For fun, you can use a monogram font with entire words. This method works best with all capital let-
ters and shorter words.
Sample above uses MGM Rounded applied to a word.
Overlapping letters is sometimes needed for your design, and when you do that within a lettering ob-
ject, the stitches that are hidden will be removed automatically:
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Customize the Design
The Letters Property tab provides a number of tools that allow the design to be customized.
There are three basic styles for lettering:
• Multi-Line Text
• Single line of text or Monograms
• Text on a Circle
The lettering design can switch between these styles using the three buttons at the top of the property tab as shown above.
Multi-Line Text is useful when you want to enter an entire saying, poem, etc.
Single line of text or Monograms is useful for entering a single line of text or a Monogram. With a sin-gle line of text there is more flexibility in the shape such as the enveloping feature. With Monograms there are some fun Quick Styles that re-shape the 3-letter monogram and when overlapping the mono-gram letters the Sewing Order finishes the look.
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Circle Text wraps around a circle. If you overflow the amount of letters that can fit on the circle, you will see your text spiral outwards. To see the text on a circle, you will have to adjust the ‘Radius’ of the circle using the slider.
Spiral text starts in the center.
When writing on a circle, you have the option to put text either on the inside or outside; when em-
broidering, we usually think of this as text at the bottom or top of a circular patch or badge. To switch this, use the checkbox labeled “Place on bottom.”
Monogram Font and Quick Style
The font and style are changed using the selections in the Font and Quick Style boxes. You can see the Quick Style menu options in the illustra-tion to the left.
When the lettering is initially placed on the page, the letters are auto-
matically kerned (letter spacing) for a good visual effect. Note that these styles are designed to accomplish traditional monograms, and therefore some only work properly with two or three letters.
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Font Selection
Some fonts may only have uppercase letters. If you’re using a font and not seeing the desired charac-ters, clicking the ‘?’ button to the right of the Font box; it will display all characters available in the select-ed font along with size recommendations.
Characters available shown with recommended size ranges.
Slant and Space
The slant of the monogram and the spacing of the monogram letters are controlled with the Slant and Space slider controls. If you use these controls and want to return the monogram to its default settings, simply click the zero control (circular arrow at right end of the corresponding slider). This will restore the default setting. The Slant gives an italic effect to the monogram.
.
Enveloping
The envelope (containing top and bottom outlines) of the lettering (single or multi-line) can be indi-vidually customized. The Envelope Type box and Envelope Slider control the envelope. There is an Enve-lope Slider control for the envelope top and there is an envelope slider control for the envelope bottom. There are four styles of envelope: Curve, Grow, Peak and Shrink.
If you use these controls and want to return the lettering to its default settings simply click the zero control.
Enveloping Curved Top and Bottom Envelope
Enveloping can produce a variety of creative designs, especially when you begin breaking up the
words into segments and enveloping each one separately.
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Sample above uses two envelopes and a lower case “o” resized for bubbles.
Changing the Color of one Letter
You can change the color of one letter by selecting that one letter. To select it, first make sure the let-tering object or monogram is selected, then click on the green handle that appears centered over the let-ter you want to change. Once a single letter is selected, you can change the color(s) of just that one letter using the color property page as described previously.
For more information on threads and colors, see the section on Color.
Monogram Sewing Order
On the Letters tab there is a Sewing Order box. Choose the order in which the letters are sewn from this control. For a simple monogram you probably
do not want to change the default order. However, if you want to overlap the center letter on the others, you could choose the ‘ACB’ order (second choice).
Stitch Properties
The Stitch tab contains controls for the actual stitch generation of the Lettering. Note: This tab will not be displayed for imported fonts, as those designs are different in nature.
Auto Fill: If you want the lettering design to be a satin stitch at any size, uncheck this box. This
prevents the program from switching this design to a fill as it gets larger. Fill control: When switching to a fill, there are options for the pattern to be used. Click the arrow
on the right to open the list.
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Satin Density Control: This control ranges from 3 to 20 with each tick being one tenth of a millimeter. So the range in millimeters is .3 to 2.0 mm. The smaller the density number the closer together the satin stitches will be. 0.4mm is nor-mal.
Compensation: This control ranges from 0 to 10 with
each tick being .1 millimeter. As the value increases the stitch length increases, in effect ‘fattening’ the stitching. This is use-ful on fabrics that have a loft or nap, and can also be used to make a font appear bolder.
Remove Hidden Stitches: When selected, stitches that are completely hidden by top stitches will be
removed. This process allows the design to sew out in a flatter manner. Note that this only affects stitch-ing within the monogram itself.
Edge Run: When checked, this adds a running stitch underlay. This setting is the amount of inset for
the edge run and ranges from .1 to 1.2 mm. Satin: When checked, this adds a satin underlay. When checked, it applies the density value, which
ranges from .3 to 2.0 mm just like the satin stitch. The ‘Set Defaults’ button restores each of these controls to their default values.
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IMPORTING FONTS (ADVANCED)
There are many great fonts in the world, and lots of design companies are digitizing fonts as regu-lar stitch files. The difficulty with these comes in using them: The letters have to be imported one at a time, there is no baseline, the sewing order can be messed up if you copy and paste; sizing and color sort-ing are issues to be managed too! Plus it would be nice to use the envelopes and text path tools that are used for the built-in keyboard lettering fonts.
For this reason, we have created the ability to import alphabet designs! This window is brought up from the Utility menu item, “Import Font…” and it lets you import fonts as well as manage ones you’ve already imported. Let’s take a look at the Import Font dialog box, as it contains the mapping shortcuts as well as other useful information and tools. The following numbered picture is shows you the tools and buttons in groups as they will be described below:
1. This shows you the name of the folder that you have selected. Below this is the name of the font as it will be shown in the font list in your program. You may change the font name and this information will be saved with it and displayed in your font list.
2. We have set the default spacing between letters and words which will be perfectly fine for most fonts that you map. If you find that these settings need adjusting, you may do so here and these values will be saved with your font. Included in the spacing section is a pulldown
menu for the baseline. For most fonts that reside on a line, you would want the baseline to be at the bottom – a reference where the bottom most part of the design is. However, for some decorative or monogram alphabets, you may decide that the baseline should be at the Center or Top, so this maybe changed in the pulldown menu.
3. Here we have the buttons for adding a New font, Saving your mapped font, Deleting a font you have previously mapped and to Add Designs to an existing mapped font.
4. The trashcan button allows you to remove the current letter from the mapping process. The Letter: shows you the name of the current design – once it has been mapped, this field will show you the character on the keyboard that corresponds to the currently viewed let-ter.
5. The MGM pulldown is for mapping monogram alphabets – is the current letter a Left, Cen-ter, or Right monogram letter.
6. The Map: buttons are “quick mapping” tools that you can use for fonts that have been named sequentially and are displayed as such in this dialog.
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Let’s get started. Click the button ‘New Font…” This brings up the window which allows you to
browse and import design files. Since you are importing a whole font, find the folder with the font and click ‘Sel. All’ to select all the designs. If your folder contains designs that are not specifically part of t he font itself, you might want to use the ctrl-click to de-select those files.
It is important that all the files for the font are together in one folder for easier and complete map-
ping. If you discover that some files are missing, for instance the “0”-“9” designs, you can open this font at a later time, choose Add Designs and resave your font.
Mapping Letters
Once you have the designs loaded into the window, you will have to map them to keystrokes. The field marked “Letter:” lets you type a character on your keyboard which will map to the current design. The current design is boxed in by black lines in the view on the right. In the picture at the start of this sec-tion, the number ‘2’ is selected.
If you have a set of designs where all the letters or numbers line up next to each other, you have
some shortcuts provided for you to map the keyboard to the designs. You’ll see the buttons “A-Z”, “a-z” and “0-9.” As an example, click on the design that is the letter “A” to select it. Then click the “A-Z” button. This will automatically map the A-Z letters to those 26 designs.
If your designs are organized in some other order then you will have to manually type those keys
to map the font.
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Adjusting Baseline
Sometimes individual letters require adjustments for their baseline. In
the view, the pictures of each letter are shown, with a black line representing the baseline. You can click on a letter to select it, and once selected, drag the letter up or down as necessary to place it relative to the baseline as you like.
Some things like apostrophes always need adjustment, naturally, but letters with descenders like
“g” or “y” will usually need adjustment also.
Spacing
The spacing of letters between each letter and each word can be set using these boxes. The spacing is always a percentage of the font height.
Editing Fonts Already Imported
Use the Font box to select a font that you want to edit. Once the font loads, you can make adjust-
ments to the font, such as remapping letters, adjusting sizes or positions on baseline, etc. When you have the font how you want it, click “Save Font.”
If your font is missing letters that you have now located, use the Add Designs button to open the
Import dialog box to select and add the missing letters. You will need to map these new letters and save the font.
Note: Fonts must be named uniquely. If you accidentally name a
font the same as an existing on, it will get a (2) added to the name. Another Note: Long font names may run past the visible space
on the font selection in the Letter properties, so we recommend short-ening the font names using initials or abbreviations. Do this in the Name line under the Font list box.
Using Imported Fonts
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When you create a lettering design, you can now use the font that you’ve imported. Imported fonts are indicated with a needle overlaid on their icon, as seen on the picture to the left. These fonts can do almost everything that the built in fonts can do, such as make monograms, circles and even be shaped. When these letters get sized, the built-in sizing technology will recalculate their stitches.
There are however, no stitch properties for these fonts, as they are stitch-files, not our digitized objects. So removing of hidden stitches, underlay and density cannot be changed, for example.
Deleting A Font
At some point you may want to delete an imported font. From the Import Font window, select the font
to remove from the Font list popdown and click the Delete Font button. Be sure this is what you really want to do because the program simply assumes you know what you’re doing and will instantly remove the selected font.
Using Imported Fonts
When you create a lettering design, you can now use the font that you’ve imported. Imported fonts are indicated with a needle overlaid on their icon, as seen on the picture to the left. These fonts can do almost everything that the built in fonts can do, such as make monograms, circles and even be shaped. When these letters get sized, the built-in sizing technology will recalculate their stitches.
There are, however, no stitch properties for these fonts, as they are stitch-files, not our digitized ob-
jects. So removing of hidden stitches, underlay and density cannot be changed, for example.
Note: If you see an imported font listed that has no characters displayed, it hasn’t yet been mapped. You can always import and save a font and then map the characters later.
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MONOGRAM PLACEMENT
Towels
General Instructions: The placement goes on the opposite side of the fabric and at the opposite end from the label. This allows a traditional triple fold to display the monogram. Folding the towel as you would display it helps visualizing and marking the correct placement.
Bath Towel: The bottom of the monogram should be 4” above the hem or 1” to 2” above the dob-by border, if present. The monogram should be 4” tall.
Beach Towel: The bottom of the monogram should be 5” above the hem or 2” to 3” above the dobby border, if present. The monogram should be 5” tall.
Golf Towel: The monogram should be centered horizontally with the top of the monogram .5” be-low the grommet. The monogram should be 1” to 2” tall.
Hand Towel: The bottom of the monogram should be 2” above the hem or 1” to 1.5” above the dobby border, if present. The monogram should be 3” tall.
Sports Towel: The bottom of the monogram should be 1.5” above the hem. The monogram should be 1.5” tall, and may be placed on a 45-degree angle.
Wash Cloth: The bottom of the monogram should be 1.5” above the hem or 1” above the dobby border, if present. The monogram should be 1.5” tall and may be placed on a 45-degree angle.
Bedding
General Instructions: Don’t annoy your sleeper. Placement and thread can affect the comfort of the item. Spread out the item as you would see it on a well-made bed to help with visualizing and marking
the correct placement. Top Sheet: Top Sheets are placed on a bed upside-down and the top (wide hem) is then folded
back to right-side-up. This means that the monogram is apparently embroidered upside down. Looking at a made-up bed will help you visualize this. Place the bottom of the monogram 2” from the wide hem, cen-tered. The monogram should be 3” to 4” tall. Embroidering inside the wide hem is sometimes preferred, and when doing so the design is sized to fit.
Pillowcase: Embroidering inside the wide hem is generally preferred, and when doing so the de-sign is sized to fit. If the font allows it, the monogram should be 2.5” to 3” tall. Placement is centered, monogram facing toward the opening.
Pillow Sham: Center the design on the sham, facing the long edge as if it were a pillowcase with an opening. The monogram should be 2.5” to 4” tall.
Blanket: Centered on the top like a sheet or facing into the bottom, right corner at a 45-degree angle. The monogram should be 4” tall.
Duvet Cover: Centered on the top. The monogram should be large, up to 12” tall. Home Decor General Instructions: None. This is all according to taste, fashion and style. Napkin: Embroider 2” in from point of corner. Distance may need to be increased if there’s a bor-
der or hem. Place opposite of label or tag. The monogram should be 1” to 2” tall. Placemat: Top-right corner, 3” diagonally from point of corner. The monogram should be 1” to 2”
tall. Table Runner: Embroider matching designs 4” from end. The monogram should be 4” to 5” tall. Table Cloth: Embroider 4” from corner, with design facing into corner at a 45-degree angle. The
monogram should be 4” to 6” tall.
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Garments
Coat Lining: Embroider on the right side at the waist level, 3” from the seam. Monograms should be 1” to 1.25” tall.
Collar: Embroider on the left side, above buttonhole if present. Monograms should be 3/8” tall. Golf/Polo Shirt: 7.5” to 9” below the shoulders left seam and 4” to 6” from center. Depending on
the design, you can also look for a line down from where the collar meets the shoulder seam, and look over from the 2nd buttonhole.
Long Sleeve Shirt: Top and center of wrist, which is about 1” to 1.25” from the center toward the buttonhole. The bottom of the monogram should sit very near the top stitching of the cuff. Monograms should be 3/8” tall.
Robe: Draw a line straight down from the shoulder seam 4” to 6” for women and 7” to 10” for men. Find the center of the armholes from the armpit to the shoulder, and draw line straight across to-ward the center of the robe or go across 3” to 5” from the center.
Shirt Placket: Center the design between 2nd and 3rd buttonholes. The design should be 1/4” to 3/8” inch tall.
Shirt with no pocket: Draw a line straight down from where the shoulder seam meets the collar seam. Find the center of the armholes from the armpit to the shoulder, and draw line straight across to-ward the center of the shirt. The center of the design is marked where the lines intersect. If the armholes are deep, the line can be made too low on a woman’s shirt, so keep that in mind.
Shirt with pocket: Center the design on the pocket hem, with the top of the design 1/4” below the top of the pocket. Monograms should be 1/4 to 3/8” tall. If pocket has button in center, shift design to the right.
Shorts Leg: Halfway between center-front and side seam. The bottom of the design should be
1/4” to 1/2” above the hem stitching at the leg hole. Short Sleeve Shirt: Center design 1/4” to 1/2” above the hem on the sleeve. Monograms should
be 1/4” to 3/8” tall.
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THE EW LIBRARY
Clicking the Library tool found on the Design Toolbar will display the selection dialog. The dialog has a scrolling list on the left that shows the collections. Select a collection from the list on the left and designs in that category display in the selection area on the right. Select a design and
click OK. The design will be placed in the center of the Design Page.
Thread Brand and Color: The thread brand and color are changed just as described in Color section.
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THE ACCUQUILT LIBRAR IES
Various families of the AccuQuilt dies have been made available as embroidery applique files in the library function. They are first downloaded from the Designer’s Gallery website, then use the button “Import catalog (.bx)” to load the individual catalogs. These catalogs will grow and change over time as AccuQuilt releases new dies.
Select the family from the catalog pulldown menu and choose the die you wish to use from the list on the left. The individual pieces may be selected one at a time, All at once (using either CTRL+A or the “Select All” button) or multiple selections using the CTRL or Shift keys.
Click OK to insert the current selection into the center of the design page.
Each die-cut design that is inserted has its own properties that can be modified.
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Applique Properties Tab
This tab becomes active when you have an applique shape from the Library selected. The default
is to not show the fabric of the applique shapes. This feature will give you a realistic view of the finished design, and can be turned on by selecting the Fabric Preview option.
The border style pulldown menu allows you to change the finishing stitch type. In this example
you can see the E-Stitch is selected and will hug the edge of the precut AccuQuilt die for professional and clean results. With pre-cut appliqués a heavy satin-stitched border is no longer necessary, saving time and thread while improving the finished look.
The Topstitch (finishing stitch) properties can be adjusted in this section. You may type in values
for the Stitch Length and Stitch Width or you may use the slider control for each value on the right.
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The Color style allows users to adjust how they work with color during appliqué steps. There are
two styles: Keep Color and PES Card (Traditional). Use Keep Color to conserve thread changes by combining like colored Top Stitch and next position
placement stitches. This will allow the machine to stitch the finishing stitch of the piece and the place-ment stitch of the next piece (if the same color) without having to start the machine again.
For traditional stops after each section, you may select the PES Card option from the Color type pulldown. This selection may be necessary depending on your machine, particularly if you use Palette Basic or similar to write a PES card for your machine.
Once you have selected a color style, the program will remember it as your choice for next time.
MULTI-POSITION HOOPING
SO, YOU SAW IT ON THE INTERNET AND HAD TO HAVE IT.
BUT IT’S TOO BIG FOR YOUR MACHINE…
EmbroideryWorks has our patented design splitting technology built into it. This system automatical-ly splits designs into multiple positions for sewing as separate designs, which tile together to make a larger design. In the past, splitting a design took hours of editing by a person schooled in the process.
Our splitting drastically reduces the visible ‘seams’ that occur from manually splitting files using an editor. In most cases, the final product is indistinguishable from one created on a larger-field machine.
Some hoops have multiple positions. This means that you only hoop the fabric once and generate the design by sewing it in those multiple sections. However, you can achieve the same result by re-hooping the fabric multiple times to create the design. We call this a “Virtual Hoop.” The Everyday version of the program comes with many hoops and virtual hoops pre-defined. The Advanced version has creation and editing of these hoops as well.
When sewing designs in multiple sections, often the question of alignment comes up. This is accom-plished automatically with multi-position hoops, but to make it easier for regular hoops, the program will add basting stitches, which will align the designs. To choose a hoop, click the preferences button on the toolbar, and the Hoops window will appear:
The Multi-Position hoops are separated from the Normal hoops, and you click on the Hoop Style to se-
lect which list you want to see. Here is the Jumbo Frame:
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Sewing
You’ll notice that this hoop has two rectangles, which overlap in the middle. Each of these represents a sewing field. To make it more obvious which lines represent which field, the inside of each rectangle has a dotted line indicating the inside of the field.
If you are combining designs to make a composition, it is always going to give the best result if you keep whole designs into one region. This produces a split, which will have the least effect on the actual stitches on the design. Of course, this is not necessary, however, as the design may be split even if it lies in the middle of the hoop, but some splitting would have to occur.
The ‘+’ marks shown indicate the centers of the sewing fields.
Note: If you look at the Hoop in the selection window you will see a note that the design centers are offset from each other. This means that when you sew the two sections, the centers of each design will be separated by that amount. This is your initial placement method for each design.
In order to position your design, it is always advisable to print an actual template of the design. This helps you visualize what it will look like once embroidered, and it will help define the center position of the design on the fabric. Once you have the center of the overall design, then you will want to mark the centers for the individual fields. In the example above, this would mean that you mark the fabric 5 cm. from the center on both the left and right of the design center. This places the two designs 10 cm. apart. This basic positioning will help you get the result onto the fabric where you want it to go.
Editing the Hoops (Advanced)
When you click the “New” or “Edit” button in the Hoops Available window, you will see this screen.
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EXPLANATION OF FIELDS:
• The first field in this window is the ‘Hoop Name’. This is just what it sounds like. Type in whatever name you want.
• Next, choose the ‘File Type’ of the machine that this hoop works on. The list contains the file types that can be saved.
• The ‘Individual Field Size’ is the size (in mm) that your embroidery machine can create with a sin-gle hoop position. If you are unsure about this size, consult your dealer.
• The ‘Rows’ field specifies the number of vertical points at which the hoop can be attached to your machine. For most multi-position hoops, this number is three. For sliding hoops such as those made by Hoop-It-All, you will have to determine how many sections you want to embroider in. In so doing, however, keep in mind that there should be a good overlap between adjoining sections. Use the hoops we’ve provided as examples.
• The ‘Columns’ field specifies the number of points at which the hoop can be attached to your ma-chine sideways. For most hoops, this number is one, but there are exceptions on the market. These are usually described as “Double-Wide.” You can also use the columns to indicate that you want to divide the design into horizontally-tiled segments.
• The ‘Separation’ fields specify the distance between the hoop positions. (For example, the distance from needle-center of the top position to the needle-center of the middle position.) This can be measured physically if you do not know: hoop a piece of paper and drop the needle through it, in all hoop positions, measuring the distance between the holes. Alternately, most manufacturers’ soft-ware will show a grid behind the hoop on the screen. You can count the grids (usually 1 grid = 10mm) between the region marks to get the separation. It is very important that you correctly as-sign the separation; otherwise the design will not be split accurately.
• The ‘Right-to-Left’ field is used for multi-column hoops (‘Double-Wide’). It indicates that the initial direction the program will split the design will be right-to-left, as opposed to the standard, left-to-right. The use of this depends on the machine and hoop. Some manufacturers have wide hoops that start by sewing the left side of the design upside-down, then you turn the hoop halfway around and embroider the other side (now the right side, and the design is right-side-up). Hence, the default, ‘Left-to-Right.’
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NOTE: You can tell if your separation figure is correct! The manufacturer of the hoop will definitely provide you with the number of positions used as well as the full size of the embroidering region of the hoop. As you adjust the separation, the field, “Overall Size” is calculated. If this matches the figure given to you by the manufacturer, you have correctly set your separation.
• ‘Compensation’ allows the final regions to be slightly increased in size. This forces the regions to overlap each other. This is useful because as the machine adds stitches, the fabric gathers slightly. It is entirely possible to have a gap between regions if no compensation were to be used. The amount of compensation required depends on several factors: The size of the hoop, the fabric being embroidered, the number of stitches, the quality of the stabilization, etc. We have chosen some set-tings for our factory hoops that have worked well in our design testing. Please embroider some test designs with the desired hoop before tackling a project. This will ensure that you have a reasonable setting for your compensation.
• ‘Color-by-Color’ denotes a different type of file splitting. As of this writing, only the Viking Mega Hoop™ allows for this type of design splitting, so as a general rule, never check this box. The Color-by-Color method is for use in machines that can sew each color in all of the hoop regions before go-ing on to the next color. When the machine operates this way, it will stitch in its current region un-til it no longer can. It will then stop and ask the user to reposition the hoop, whereupon it will con-tinue stitching. In the case of most designs, this will cause a lot of position switching as a color typi-cally stitches objects out in a random fashion all over the design. The program will ‘sort’ the stitch objects to reduce the number of position-switches required.
• ‘Invert Alternate Column’ is used for ‘Double-Wide’ hoops that get turned upside-down for their second row.
• ‘Add basting alignment lines’ will provide a basted line of stitching to each output file. These lines of stitching will have their end and/or center points line up on the fabric when you go to stitch out the designs. If the lines do not line up, then adjust your hoop/fabric position until they do.
• ‘Baste Length’ sets the size of the alignment line stitching, in mm.
Once you have finished creating or editing your hoop, simply click, ‘Save’ to save it. If it is a new hoop, it will then appear in the Hoop Available window.
Multiple Hooping
Multiple Hooping is the process of creating a large embroidery design by re-hooping the fabric as you embroider each section. Multiple Hooping is an art that requires a complete understanding of what you are doing, as well as an excellent ability for placing your fabric in the hoop. It is not a method that should be practiced by the timid. You can split designs for Multiple Hooping by creating your own hoop:
Suppose you have a design that is 9 inches high and 8 inches wide. Also, suppose that your machine will embroider a region 9 inches high and 6 inches wide. (These are typical values for today’s machines.) What you want to do is to create a two-position hoop to accomplish the split.
Therefore, create a hoop that is 9 inches high, with two positions. The separation should be set to al-low the greatest possible overlap between the two regions: 8 inches (desired) - 6 inches (a single hoop width) = 2 inches.
A separation of 2” would be the smallest possible for the desired 8-inch width, and would provide the greatest overlap of the regions.
Note: The use of columns allows side-by-side multiple-position hoops. It’s a lot of embroidering, but it looks good and can easily fill a jacket back.
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It is very important to mark your fabric before embroidering. When the fabric is re-hooped it must be parallel and centered to the first hooping. Also, the distance between the centers needs to be precise. (This is 2 inches in this example.)
If it is possible, we encourage the use of ‘Floating’ techniques for hooping: not actually hooping the material itself, but rather hooping a stabilizer and attaching the fabric to it with adhesive and/or a bast-ing stitch. This will provide the least distortion in the fabric while the overlapped regions of the design are being embroidered. One easy method, if your material can handle it, is to use carpet tape (double-sided and very sticky) on the bottom of your tightened hoop. This can then be perfectly aligned and pressed into place. (The adhesive comes off with a lot of water-soluble solvents and even soapy water will usually work.)
Remember: It is a really good idea to take a class on this type of process to get the hang of it, and practice before
moving on to an actual project!
Split Into Hoop (Advanced)
You can split the design using the “Split Into Hoop” from the Utility menu. This will open a new design page with the split files so that you can preview them or do other work before saving.
Left: A single design placed on a 100x172 hoop. Right: The design has been split.
In the example above, the 100 x 172 PES hoop was chosen, and the design was centered horizontally
in it. The design was adjusted vertically slightly to optimize the splitting. Then the menu item, Utility->Split Into Hoop was chosen. This created a new design page, represented
by a new tab. In that page there are two designs, one for the top hoop section, and one for the bottom. Us-ing ghost mode, we show the designs separately:
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Left: The top design is selected. Right: The bottom design is selected.
When you save this page, multiple stitch files will be created, as described in the next section,
“Output Files.”
Output Files
When you save your files, the output files represent each region of your design. The files are automatically given names indicating their stitching order as well as the position within
the hoop. For instance, “Azalea.PES” may split into “Azalea Top #1 .PES” and “Azalea Bottom #2 .PES”. You’ll also get a new .BE file with default name is Split Design to distinguish from original. Additionally, you may get a text file that explains the color sequence for your new files. In many de-
signs, a color is only needed in one region. Where this is the case, that color will not exist in all the output files. To help reduce this “Color Confusion,” a text file is created with a table. The following is text from an example file:
“Azalea.PES Your original file had 11 colors. The program has split your file into 2 segments. Some thread colors in the original file may not be needed in some of the split segments. File: Azalea Bottom #1.PES Color 1 = original color 1 Color 2 = original color 2 Color 3 = original color 3 Color 4 = original color 4
Color 5 = original color 5 File: Azalea Top #2.PES Color 1 = original color 3 Color 2 = original color 4 Color 3 = original color 5
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Color 4 = original color 6 Color 5 = original color 7 Color 6 = original color 8 Happy Embroidering!” As you can see, the table is easy to follow. Since this is a text file, you can edit it (double-click to launch
TextEdit), print it, etc. It is a good idea to add any real thread numbers or names if you have them. Often, the digitizer of a design will supply a real-color thread list for this purpose.
We cannot stress enough the fact that the order of embroidering the files is important. The files will overlap each other as they sew. If you embroider out-of-order you will get overlapping
that is incorrect, and parts of your design will not be visible!
Region Naming:
On hoops that have three positions, the regions are named for you: Top, Center and Bottom. On hoops
that have more positions, the other positions are given numbers, starting at the top. Hence, you might have a hoop with: Top, Pos. 2, Center, Pos. 4 and Bottom. Columns have names like “Left”, “Right” or “C2”.
Getting Results
To get the best results, there are some things you should know. First is that you should trim your jump stitches as you go, if your machine does not do it automatical-
ly. This is true in the course of normal embroidery, but somewhat necessary when embroidering a split design. When splitting a design, it is natural that the machine will have to go from place to place a little more frequently. This results in extra jump stitches. We have made every effort to minimize the amount of effort that it takes to split embroidery files, and apologize for any inconvenience this may cause, but please accept our assurance that your finished product will have a nicer appearance if you clean the jumps from the design.
If you are using an appliqué design, you will need to embroider each color in each region before mov-ing on to the next color. This will ensure that the full appliqué can be applied without incorrect oversew-ing by the other colors.
There is a compensation control in the Hoop Properties window. This control is available on all hoops, even the factory-defined ones. Compensation is the amount that each region will overlap the neighboring regions. This is used to correct for the fact that fabric will shrink as it is embroidered. Additionally, an imperfectly hooped project will allow registration problems to occur. If you are not able to hoop your fabric ‘drum-tight’ (this does not mean stretched!), then you may want to increase the compensation set-ting for your hoop.
Important: If you are increasing the size of a design in SizeWorks (currently a Windows program) or some other sizing program, please don’t increase the size more than you will actually need for your hoop.
Note: There is a very important phrase in the computer industry: “Garbage in, garbage out.”
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STITCH EDITING (ADVANCED)
The ability to edit individual stitches is a very useful tool. Sometimes there are parts of a design that you simply do not want. Other times, there are jams of stitches that simply cannot be
removed any other way. In still other cases, you want to add a few stitches to get rid of gaps or increase coverage in an area that’s not necessarily a fill. Maybe you just want to make a pocket topper?
To begin editing a design’s stitches, click the Stitch Edit button on the toolbar. This will cause the Tool pane to display the Stitch Edit controls, and the main view will show the stitch points:
Stitch points can be turned on or off from the View menu. They help identify the individual needle
penetrations in the design.
Selecting Stitches
The slider control at the top of the Tool pane scrolls through the stitches, highlighting the current one as you scroll. You can also move forward or back with the blue arrows. If you hold down the shift key as you scroll, you will be able to select a range of stitches.
Here you can see that we’ve selected a range of stitches inside the golf ball, but we’ve skipped the satin stitches that go around the edge. If we hit delete on the keyboard, we can remove them!
Another way to select stitches is graphically. You can drag a rectangle or a lasso around stitches to se-
lect them. You can also use the Brush selection, which selects anything the cursor touches, or with the Ctrl key, the brush can de-select points. Selected stitches can be deleted with the ‘delete’ key or split using the ‘Split’ button.
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You can also select stitches for an entire object or design using the Object View. While in Stitch Edit mode, simply select objects in the tree and the corresponding stitches will be selected.
Left: Lasso. Right: Selected
Splitting a design
Once stitches have been selected, you can delete them or split them. To split them, click the ‘Split’ button. This will create a separate design for the selected stitches. It will also remove the stitches from the current design. If your design is lettering or a Library design, this process will convert
that design to stitches so you will not be able to adjust that design the same as before.
Above, the design has been split, and the crown was copied and pasted.
Insert Stitches
If you have a stitch selected, you can right-click to get a pop-up menu, which will let you insert stitch-es.
Notice that you can see the direction of the stitches when you are zoomed in. This helps determine ‘before’ or ‘after’. The arrow on each stitch points toward the next stitch as the design would sew. Right click again to end insert stitches.
Left: Right-click to select the Insert mode. Middle: Inserting stitches. Right: Stitches have been inserted.
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Converting Stitches
Using the ‘Satin’ Drop-down box, you can convert selected stitches to a satin stitch, a choice of split satin stitches, or even add a fill effect to an existing satin stitch.
Adding compensation
Once stitches have been selected, you can add compensation, which makes the outside stitches of fills or satins a bit longer or shorter. This is useful when you have gaps in a stitch-out and you would like to ‘stretch’ the stitches together, thus reducing or eliminating the gaps. You can also use compensation to adjust the width of lettering you may have imported.
Left: a typically gapped design. Middle: The stitches around the gap are selected. Right: Compensation
has been added by moving the slider to the right.
Keyboard Shortcuts
Left Arrow: Select Backwards Right Arrow: Select Forward Up Arrow: Select Forwards 10 stitches Down Arrow: Select Backwards 10 stitches Page Up: Select next command (jump or color) Page Down: Select previous command Home: Select First stitch End: Select last Stitch Delete: Delete selected stitches Shift Left Arrow: Range select backwards Shift Right Arrow: Range select forward Shift Up Arrow: Range select forwards 10 stitches Shift Down Arrow: Range select backwards 10 stitches Shift Page Up: Range select next command (jump or color) Shift Page Down: Range select to previous command Shift Home: Range select to first stitch Shift End: Range select to last Stitch
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STITCH SIMULATOR
The Stitch Simulator lets you see how the design will sew out by sewing on the screen. It is activated by clicking the Stitch Simulator tool in the View tool bar or selecting Stitch Simulator from the View menu.
Stitch Simulator controls
Stitch Simulator Controls The controls are easy to use and give complete control of the simulated sewing process. Player Control: This control lets you sew forward, backward and stop. The right arrow starts
sewing forward. The double bars stop sewing. The left arrow starts sewing backward.
Step Stitch Control: This control lets you sew one stitch at a time forward or backward. Right ar-
row: forward. Left arrow: backward.
Speed Control: Use the slider to change the speed of sewing. Move to the left for slower to the
right for faster.
Manual Control: Click and drag this slider forward or backward to quickly move a particular sec-
tion of the design.
Stop Control: Click the Stop button to insert a color stop in the design. This allows you to change
colors on the fly. Or creatively use this to isolate parts of the design that you want to remove or isolate.
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THE DENSITY MAP
The Density Map is a graphical display of the density, or stitches-per-inch in your designs. To see the Density Map, click the button on the main toolbar. This is useful to see if a design is not going to sew well. For instance, this is a design that has been overlapped, thus its density is very high.
Like weather radar, the density map shows areas where trouble is likely:
Where the design shows bright red in color, there are six layers or more of thread, which undoubtedly
will produce poor embroidery results.
The Density Map can be used to illustrate when a design (probably from the internet) is dangerous to sew on a project without test sewing it first. And it also helps identify when you would want to use the Remove Hidden Stitches function or even the Sweep. Those features will remove stitches that are likely to cause poor design production, while maintaining the same visual design. Here is the same design after a Sweep is performed:
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BASTING FUNCTIONS
Individually selected designs can have a basting stitch added automatically. This is useful when you want to add a layer of stabilizer or some other material before the sewing of a design.
Also a basting stitch can be added to the hoop, which allows for a layer of topping stabilizer to be basted in place before any designs are sewn. A typical use of this is to add a layer of water-soluble top-ping to a towel, which will prevent the terry cloth loops from coming up through the embroidery. It can be hard to hoop a towel, and the topping stabilizer will want to slide around before the stitching happens, so basting it first can make the process easier.
The basting stitches are added to the start of the design or file, and are added as a separate color; naturally you can use any color you want to sew the baste.
Printing
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PRINTING
A design template showing the design at full size and with registration marks can be printed. Just choose print from the File menu or click the printer icon on the tool bar.
On the left are common options for printing templates. This includes 3D and crosshairs which
mark the center of the design for hoop placement. Also you can choose not to print design information (Design Only).
Several options have been included for use with Applique. See the Applique section for images and a description of using the Applique.
‘Selected Colors only’, which can be used with machines that will scan and cut – by printing only
an outline, you could make it easier for those machines to scan the shape you need.
When printing an applique for hand-cutting you probably want to turn the ‘Print Applique Outline’
mode on so that you have a clean, dark line to cut on.
The ‘Print Stitches’ option is used to only print a background image, for use with creating a photo-
graph as an applique via printable fabric or transfer fabric. There, you want to print the image, not the stitches which will be applied over top.
‘Print Applique’ is a setting that turns on printing of a selected Simulated Fill or photograph (on the applique tab of the Color Window.
And ‘Mirror’ is useful for transfer paper as the image will be reversed.
‘Print Color Sequence’ adds a separate page with all the colors, see the following images:
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The template can be previewed before sending the output to the printer. The second page of the worksheet displays size, stitch and color counts, and a list of the colors used in the design with approxi-mate thread requirements.
Printing preferences, found in the Program Preferences window.
The template can be previewed before sending the output to the printer. Below is a sample tem-
plate with a monogram surrounded by a frame. Note the registration marks.
The second page of the worksheet displays size, stitch and color counts, and a list of the colors
used in the design with approximate thread requirements.
Printing preferences, found in the Program Preferences window.
HELP
Getting help for EmbroideryWorks products is just a few clicks away! www.designersgallerysoftware.com